IMC feature • Horror Films!

With the approach of All Hallows’ Eve, consider one of the many fine films in the horror genre to copilot your quasi-satanic celebration.  Make it movie-size fun by checking out a projector, speakers, and screen from the IMC!  These films include some pretty graphic depictions of violence.  See IMDB descriptions and associated keywords for possible trigger warnings.  For a complete list of horror films by title click here.  Looking for a spooky soundtrack to complete your haunted house?  Checkout out these compilations curated by none other than The Academy Theater’s “Door Man” (’14).
Blooding Drool Side A
Blooding Drool Side B

Nosferatu, a Symphony of Horror – PN1995.9.H67 N684 2009 DVD   The original Dracula movie from famed silent film director F.W. Murnau, starring Max Schreck as Count Orlock, is considered the first critically acclaimed horror feature film.  Nosferatu premiered in 1922 with different names for the main characters, as the studio did not acquire copyright clearance of the screenplay from the Stoker estate.  The real horror came from the ensuing lawsuit for copyright infringement, which they won – with a court order to destroy all copies of the film.  Luckily, one copy survived and begat many copies which continue to play among the canon of great films.

PsychoPN1995.9.H6 P8935 2000 DVD   A man, a mother, a motel, and a maiden in distress, culminating in a most unfortunate shower scene.  Hitchcock originally envisioned the scene in complete silence.  Composer Bernard Herrman went ahead and scored it anyway. 

The ShiningPN1995.9.H6 S565 2007 DVD   Stanley Kubrick directs this Christmas classic with jolly old Jack Nicholson, Shelley Duvall, and a supporting cast of fun-loving kids (the twins are adorable).  As caretakers for a lodge, the Torrance family gets snowed in, making the best of it with games of make-believe, indoor tricycling, and high-stakes hide and seek.  Scatman Crothers provides comic relief.  Red rum for all! 

Halloween – PN1995.9.H6 H3556 2003 DVD   The most common reported nightmare is being chased by the monster that can’t be killed.  You can thank John Carpenter for that.  You can also thank him for reestablishing theme music as part of the horror film aesthetic.  In a reverential nod to Hitchcock and Psycho, Carpenter cast Janet Leigh’s daughter, Jamie Lee Curtis, in the lead role.  And while you’re in the mood, check out the 13 sequels.  It seems Halloween is also the movie franchise that can’t be killed.

Friday the 13thPN1995.9.H6 F76 2011 DVDThis quintessential summer-camp-blood-bath kicked off the 80s vintage of slasher films, which raised the stakes in terms of creative extermination and iconic supernatural serial killers.  It also turned the retro hockey goalie mask into an instant Halloween costume. Interestingly, the franchise’s most iconic symbol doesn’t show up until part III.  And the franchise’s iconic killer makes only a brief appearance at the end of part I.

Nightmare on Elm StreetPN1997.A1 N54 2010 DVDThe next series of iconic 80s slasher films was launched by Wes Craven in 1984, starring the gruesome Freddy Krueger, a burn victim with a penchant for haunting teenagers’ dreams with his razor sharp protrusions and wit.  The film masterfully blurs the line between dream and reality, viscerally escorting the audience into exhaustive contemplation over which realm they are experiencing, The sequels devolve into laughable caricatures of themselves, including a crossover with Friday the 13th – but the original film remains a pillar of the horror genre. 

Carrie – PN1997 .C367 1976 DVDBrian De Palma directed the first Stephen King film adaptation to devastating effect.  Carrie White is a painfully shy high school senior, who is mercilessly teased by fellow classmates.  Life at home isn’t any better with her religiously domineering mother.  When an elaborate prank to humiliate Carrie reaches its climax, she unleashes her telekentic rage to the audience’s horror and vengeful satisfaction.  On her way home, she kills John Tavolta.

Rosemary’s BabyPS3523.E7993 R672 2000 DVD   A young couple with family plans moves into the ornate Bramford – a building with a rather unpleasant reputation and some odd neighbors.  When the mother to be (an outstanding Mia Farrow) becomes pregnant, she finds herself increasingly isolated by those around her, who seem to have mysterious ulterior motives.  Roman Polanski’s film then gave birth to the demon-child genre as it was followed soon after by The Exorcist, The Other, and The Omen.

The ExorcistPS3552.L392 E962 1998 DVD  Undisputed champion of demon-child films, The Exorcist, raised the bar on shock horror.  When a young girl becomes possessed by the devil, a priest and his apprentice commence exorcising.  Head turning gore ensues.  Nominated for 10 Academy Awards. 

Jaws – PN1995.9.H67 J398 2005 DVD  Selachophobia: the fear of sharks.  If you don’t have that phobia, you will. Surfing in the US was down 20% following the release of this movie.  Although Speilberg pulled out all the stops to manifest the iconic killer fish, it’s John Williams’ character theme that evokes real horror.

PoltergeistPN1995.9.H6 P658 2007 DVD   Some of the visual effects haven’t held up over time but the plot and performance make this one of the scariest movies ever.  Haunted house – check. Desecrated Native burial ground – check. Creepy kid that talks to spirits – that too.  All the clichés are in place and played out to perfection.  But the scariest thing about this movie… the tragic, real-life death of the young actors after the movie’s release.

AlienPN1997 .A456 2003 DVD   Conversely, Ridley Scott’s Alien, made in 1979, has held up quite well in terms of special effects – everything from the sets to the emergence of the little creature itself (chronicled in this test audience reaction).  The crew of a commercial space vessel returning to earth answers a mysterious distress call, only to find several egg-like objects, which should probably have been left alone.  This movie launched modern horror sci-fi and several sequels of varying quality.

An American Werewolf in LondonPN 1995.9.H6 A54 2009 DVD  Comedy writer/director John Landis (Animal House) wrote and directed this bizarre movie that is equal parts comedy and horror.  Two friends backpacking across London are attacked by a werewolf, resulting in one animated corpse and one werewolf.  Surprisingly good special effects – for 1981.

The Blair Witch ProjectPN1997 .B535 1999 DVD  True story about three film students who venture into the forests of Maryland in search of evidence of local folk legend “The Blair Witch” never to return.  A year later, their film footage was found and turned into a documentary.

The Babadook   PN1995.9.H6 B333 2015 DVD  
If it’s in a word or it’s in a look
You can’t get rid of The Babadook
If you really are a clever one and you know what it is to see
Then you can make friends with a special one
A friend to you and me
His name is Mister Babadook
And this is his book…
I’ll soon take off my funny disguise and once you see what’s underneath
Take heed of what you’ve read
You’re going to wish you were dead

Get OutPN1997.2 .G48 2017 DVD  Jordan Peele’s directorial debut won him the oscar for best original screenplay. When a young couple decides it’s time for a meet-the-parents weekend, the boyfriend notices some rather odd racially-charged interactions with the parents and their friends. And some even stranger behavior from the working staff.  

Us – PN1997.2 .U7 2019 DVD   Jordan Peele ratchets up the horror in his follow up “Us”.  Adelaide is haunted by a traumatic event from her youth.  Those feelings begin to reemerge on a vacation 30 years later.  When the family returns from a day at the beach, they are visited that evening by a gang of dopplegangers who want to kill them.  “Who are you?” Adelaide asks… “We are Americans!”  Amazing double performances by Lupita Nyong’o and family.

Candyman – PN1995.9.H6 .C36 2020 DVD  A graduate student researching urban legends goes to Chicago’s Cabrini Green housing project in search of information on the legend of Candyman.  Skeptical of the myth, she tempts fate by saying his name 5 times in front of a mirror – and we’re off.  The movie does an effective job intertwining the fear of urban legend with the societal fears of urban reality.  Fast forward 30 years later – Nia DaCosta and Jordan Peele recently teamed up as director/writer for the 2021 edition, which revisits the now gentrified neighborhood, exploring the same macabre folklore.

La llorona – PN1995.9.S7 I46 2022 DVD This Guatemalan movie based on a local legend (also well known in the US and Mexico) would be an effective supernatural horror movie without its well executed commentary on the history of Guatemala in the late 20th century, particularly the genocide perpetrated by the government against indigenous peoples in the 1980s. As it stands, it’s a slow moving masterpiece of particular interest to those looking for something on the artier end of the horror spectrum. 

Cronos – PN1995.9.S7 C765 2003 DVD Guillermo Del Toro’s first feature film (1993) – An aging antique dealer, Jesus Gris, happens upon an elegant mechanized scarab. When opened, it stabs whomever is holding it, but the wound brings youthful vigor and a vampire’s need for blood.  When the movie went over the allotted $1.5 million budget, Del Toro took out a series of personal loans to get the final $500K to finish the film.

El orfanato –  PN1995.9.S6 O7435 2008 DVD  From the Reed catalog – “A woman purchases the orphanage she spent her own childhood in, hoping to restore and reopen the long abandoned facility as both a home for herself and her husband and son, and a school for disabled children. However, her son’s imagination seems to run wild in their new home, as he becomes increasingly involved with a group of seemingly imaginary friends.”

ItPN1997.2.I8 2017 DVD  Wikipedia serves up the introduction to this movie properly – “In October 1988, Bill Denbrough gives his seven-year-old brother, Georgie, a paper sailboat. Georgie sails the boat along the rainy streets of small town Derry, and is disappointed when it falls down a storm drain. As he attempts to retrieve it, Georgie sees a clown in the sewer, who introduces himself as Pennywise the Dancing Clown. The clown entices Georgie to come closer, then severs his arm and drags him into the sewer.” Stephen King horror ensues.

It FollowsPN1995.9.H6 I82 2015 DVD  Having nothing to do with the above… After a sexual encounter, 19 year-old Jay is haunted by visions of inescapable horror.  As visions become reality, her friends desperately try to save her from the curse that follows. Debates about the movie’s message range from AIDS allegory to the aftermath of sexual assault.

Audition PN1995.9.H6 O35 2009 DVD   One of the best in contemporary Japanese shock horror… A widowed film producer seeks a new wife at the urging of his son. He holds an audition for an imaginary film, during which he is smitten by a beautiful actress/former ballet dancer fallen on hard times.  In the end, it was the actress auditioning her next victim.  

Let the Right One in PN1997.2 .L48 2009 DVD   Swedish vampire movie, adapted from John Ajvide Lindqvist’s Swedish bestseller, about a girl who has been 12 years-old for a long time. The best of the bunch in contemporary vampire film.

Interview with the Vampire – PN1995.9.V3 I58 2009 DVDDip into decadence with this gothic horror, based on the 1976 novel written by Anne Rice, centering around a centuries old vampire spilling all the secrets of how he came to being a creature of the night – the relationship complexities of the sire who turned him, the debauched fringes of society his kind saturate, and the painful recollection of those he doomed, in particular, the feeding on and subsequent turning of a young child in the darkest of plague ravaged times. A gorgeously shot film and a mesmerizing glimpse into the melancholy of a cursed man living lifetime after lifetime in sadness and understanding that immortality is not a gift. Also, this movie features Tom Cruise and Brad Pitt who in the 90s were a mash of biggest movie star meets even bigger movie star…so there’s that.

Little Shop of Horrors – PN1995.9.H6 L58854 2006 DVD“Feed me, Seymour!” A magical 80s comedy/horror musical that has an unassuming florist finding a renewed vigor to his life and a chance at romance all thanks to the help of a plant, a gigantic literal man-eating plant who demands to be fed. This movie is a totally entertaining romp from start to finish, complete with catchy song & dance, exotic plants, and murder. Rick Moranis as a shoulder-slumped shop worker is perfection but it’s truly Steve Martin’s performance as a sadistic dentist that steals the show.

The Stepford Wives – PN1997 .S746 2004 DVD  Based on the 1972 novel written by Ira Levin, who was also responsible for penning Rosemary’s Baby, this tale centers around a woman who moves to the idyllic suburb of Stepford, Connecticut. There she encounters a disturbing amount of cookie cutter wives whose primary goal in life is to please their husbands. She begins to suspect that perhaps there is something sinister going on in the town and that these women have all been programmed against their will. At its core, it is social commentary of the times on women’s rights and the desire for men to retain control, keep up unrealistic appearances, and have subservient robotic housewives at their beck and call. Not exactly the thrills and chills of Halloween horror, but plenty of legitimate reasons to be frightened. The paranoia builds quite tightly throughout this film and the ending leading to a satisfying slow burn. Definitely worth a watch as the fashion alone is reason enough to stay glued to the screen. You will never look at what you wear to go grocery shopping in the same way again.

EraserheadPN1997 .E735 2005 DVD   David Lynch’s first feature film was not all that well received.  From Variety – “Set, apparently, in some undefined apocalyptic future era, Eraserhead consists mostly of a man sitting in a room trying to figure out what to do with his horribly mutated child. Lynch keeps throwing in graphic close-ups of the piteous creature, and pulls out all gory stops in the unwatchable climax.”  

A Quiet PlacePN1997.2.Q54 DVD  Alien monsters with supersonic auditory senses seek to annihilate the human race, forcing the few survivors into a life of silence.  Despite some obvious major plot holes in this premise, the tension and dynamic audio range capture something unique in contemporary horror.

The BlobPN1995.9.S26 B5 2000 DVD  A small town is menaced by a mass of protoplasm from outer space, which turns blood-red and grows larger as it consumes residents. The film was Steve McQueen’s debut leading role. See it for the creative silicone-laden special effects and for the hilarity of 30-year-olds playing bad teens.

Suspiria PN1995.9.I8 S872 2007 DVD   Here’s a clip from the IMDB plot synopsis. “While alone in the bathroom, she becomes transfixed by a pair of shining eyes outside the window, and a decidedly inhuman arm smashes through the glass, grabbing her. She is pulled out of the window onto the roof, stabbed numerous times, and then hanged by a cord when she falls through the skylight. The huge pieces of glass and metal that break out of the skylight fall on Pat’s friend, killing her by impaling her body and her head in numerous places.”  Enough said.

Tigers Are Not AfraidPN1995.9.S7.T24 2020 DVD  From IMDB – “Estrella is 10 years old and has 3 wishes: The first one, that her missing mother comes back and it happens. Her mother returns but she is dead and follows Estrella everywhere. Petrified, Estrella tries to escape from her by joining a gang orphaned by violence. Soon she realizes that dead are never left behind and when you are in the middle of brutality and violence, wishes never come true the way you want them to be. “

El libro de piedraPN1997.L3576 2009 DVD – From Wikipedia – “Julia is hired to be the governess of a young girl, Sylvia who has an emotionally distant father, Eugenio, and a new stepmother, Mariana. Sylvia insists that she plays with a little boy named Hugo – whom the adults all see is a stone statue in the courtyard. When strange things begin to happen, the adults begin to wonder if Hugo may be more than just an imaginary playmate.

Les Yeux sans VisagePN1995.9.F67 Y94 2004 DVD   from the Reed catalog – “A plastic surgeon, holed up in a Paris mansion, is obsessively slicing off the faces of kidnapped women and grafting the flayed skin onto the rotting countenance of his beloved young daughter, disfigured in an automobile accident.”

Thrilleryoutube  If you’re hosting a Halloween dance party, you gotta kick it off with Michael Jackson’s classic zombie funkfest.

Texas Chainsaw MassacrePN1995.9.H6 T49 2006 DVD
Multiple Regression Results for Predication of Overall Fright
table
Neuendorf, K. A., & Sparks, G. G. (1988). Predicting Emotional Responses to Horror Films from Cue-Specific Affect. Communication Quarterly, 36(1), 16-27.

Zine & Arts Programs

Check out the zine and arts programs that lead up to the final event in 2024, the Reed Zine Fest!

Read about the librarians behind the series of zine and art programs!

ANNOUNCEMENTS


📌 Masks are required for Reed Zine Fest. We are offering KN95 masks and a limited number of tests to attendees at the Zine Fest welcome desk.
👉 Follow @reedzinelibrary for updates!
🎨 Reed Zine Fest artwork by Portland-based artist Jax Ko.

📌 Parking: Parking is free! We suggest that you park in the West Parking lot off SE 28th Ave (parking is free).  If that lot is full, you can park in the East Parking lot and the North Parking lot. Please do not leave any valuables in plain sight. Reed College is also off the Bus lines #10, 19, and 75.

👉 Parking to Kaul Auditorium (map):

  • West Lot – If you park here you can walk around the Performing Arts Building (PAB) on the path or go through the building and take the elevator. Either option will lead you to Kaul Auditorium which will be on your left.
  • North Lot – If you park here note that you will need to cross the Canyon Bridge to get to the South Side of campus and then follow a path to Kaul. 
  • East Lot – If you park here please note that it will be a 5 to 10 minute walk across campus. While there are paths, and signage, the path is not smooth and there are slight inclines. 


ZINE FEST

✂️ Reed Zine Fest with keynote James Spooner
Saturday, March 30, 11 a.m.- 4 p.m. at Kaul Auditorium

Reed Zine Fest is the first zine fest organized by the Reed College Library to celebrate independent publishing, DIY, and zine making. This one-day festival will feature both local community and Reedie zinesters, workshops, and a keynote by special guest James Spooner (Black Punk Now, graphic novel The High Desert, Director of the Afro-Punk Documentary and the co-founder of the Afro-Punk Festival).

Zine Fest Schedule

TimeHappeningLocation
11AMReed Zine Fest opens!Kaul Auditorium
12PMKeynote with special guest James SpoonerPAB 320
1:15PMRemembrance table for Tonya Jones, Leader of the WOC Zine Collective, collecting donations for Tonya Jones’s sonKaul Auditorium
2PMGoodbye Cruel World and Dear John: How to Write a Letter You’ll Never Send with Olivia OliviaPARC
3PMBeyond Staples: Alternative Binding Methods with Erin MoorePAB 332
7PM-11PMZINE AFTER PARTY!!! HORSEBAG, ZEROCOOL,
& MIJA!!!!!!
Reed Library Lobby

MRC Student Lunch with James Spooner (MRC students only)
Saturday, March 30, from 1 p.m. – 2 p.m. at the MRC

Join us for lunch at the Multicultural Resource Center (MRC) featuring James Spooner, the award-winning author of the coming-of-age graphic novel memoir, “The High Desert.” Don’t miss this unique opportunity to interact with a notable author and engage in meaningful dialogue about his work! Special thanks to Lily De La Fuente the Humanities Librarian for leading and selecting The High Desert for the Fall 2023 MRC Book Club. Due to the exclusive nature of this event, registration is required, and attendance is limited to 25 students.


Support

This series of zine and arts programs is generously funded by the President’s Office, the Office of the Dean of Faculty, the Office of Institutional Diversity, the Cooley Gallery, the Office of Student Engagement, the Student Life Office, and the Library.


Past Zine & Art Programs

Crafting Funeral for Flaca: On DIY Publishing & The Power of Your Voice
Thursday, Oct. 5, 2023, 4 p.m.-5 p.m. at Psych Auditorium 105

Portland-based Chicana author Emilly Prado delves into the creation process for her award-winning book Funeral for Flaca, which debuted as a handmade chapbook before it was published and expanded by the press, Future Tense Books. She’ll share the various stages of the process including writing, research, revision, and artistic collaborations, as well as the importance of self-advocacy and intersectionality in publishing, particularly for writers of marginalized identities. Plus, hear Emilly give a reading from her book, have some snacks, and get inspired for the upcoming Reed Zine Fest in March 2024! 

Risograph Workshop with Timme Lu (students only & registration-based)
Thursday, November 2, 2023, 3 p.m.- 6 p.m. at the Visual Resources Center L42

Learn Risograph printing techniques from Portland-based artist Timme Lu! Lu is a Portland-based book artist, printer, and furniture maker. They will be introducing the basics of the Risograph, a new printing duplicator in the Visual Resources Center that is available to students, and will lead an engaging group activity. Risograph printing experience is not required.

Afro-Punk Documentary Screening & virtual visit with James Spooner Thursday, February 29, 2024, 7 p.m.-9 p.m. at PAB Music Room 320

Watch the award-winning documentary Afro-Punk about the Black punk experience and history of Afro-Punk in the United States. Virtually meet the Afro-Punk festival co-founder, director and author James Spooner.

Risograph Workshop with Timme Lu (students only & registration-based)
Thursday, March 21, 3 p.m.- 6 p.m. at the VRC

Learn Risograph printing techniques from Portland-based artist Timme Lu! Lu is a Portland-based book artist, printer, and furniture maker. They will be introducing the basics of the Risograph, a new printing duplicator in the Visual Resources Center that is available to students, and will lead an engaging group activity. Risograph printing experience is not required.

Drop-in RISO Printing (students only)
Mon, March 25-Fri, March 29, 12 p.m.-4 p.m. at the VRC

Need to print a zine cover or an 8-page mini zine? Drop into the VRC to print your zine cover or 8-page mini zine on the Risograph. Limited to two colors! No appointment is needed.

IPRC Tour & Zine Making Open Hours
Tue, March 26, 5 p.m.- 9 p.m. at IPRC

Looking to put the final touches on your zines just in time for the upcoming Reed Zine Fest? Join us for a tour of the Independent Publishing Resource Center (IPRC) followed by an open-hours zine-making session (supplies provided)! Learn about the IPRC’s studio, resources, Zine Library, and programs that have supported the creative community throughout Portland for the last 25 years. Don’t miss this last-minute chance to complete your zines, learn about the IPRC, and connect with Portland’s zine community!

Printing fees will be waived for Reed College students. Masks are required at the IPRC.

Drop-in Zine Printing (students only)
Tues, March 26, 12PM-2PM at the Library Reference Desk
Wed, March 27, 12PM-2PM at the Library Reference Desk

Need to print black and white pages from your zine only? Visit the Library Reference Desk to print your zines for free. Limit on the number of copies of TBA.

Unfurling: Zines, Art, Activism and Archiving
Thurs, March 28, 1 p.m.- 4 p.m. at Special Collections & Archives

Drop into the archives as we delve into the exploration of art and activism through zines, highlighting the works of Reedies, regional artists, global artists, and activists from the Reed College Special Collections and Archives.


Have you ever wondered how or where you could get help with images on campus?

Wonder not – just head to the Visual Resource Center (VRC). It’s located below the main floor of the Reed Library, in Room 42. Not the IMC or the Language Lab, but an inconspicuous door right next to the seminar room. There you’ll find our team working behind the scenes, scanning and scouring museum collections for the highest-quality images.

You’ve most likely seen these images projected in class or referenced as part of an assigned reading, and we’re the ones responsible for providing them to your professors! Images are regularly added to the Reed Digital Collection (RDC) to support instruction in the art department. And as a student, you can search the collection for images to use when completing your assignments. We can also help you find the best images for presentations, publications, and theses, along with navigating the difficult realm of image citations.

Aside from academic support, we have specialized equipment for assisting with image-based projects. We have the largest scanner on campus (18″ x 24″), a transparency scanner, a photography room for documenting large 2D works, and a computer workstation with the Adobe Creative Cloud applications.

If you’ve asked yourself any of the questions below, then email us today to book an appointment:

  • How can I scan and digitize my film or artwork into a high-resolution image?
  • As a ceramist, can I make high-quality images of my ceramic works for a portfolio?
  • As a film enthusiast, can I convert my beautiful photographs into digital facsimiles?
  • Can I use the large scanner and Photoshop to complete a mixed-media work?
  • Where can I get some free Cheez-Its? That’s right. You read that correctly.

And, if you’re still not sold on the utility of the VRC, you should remember that the VRC is located in Room 42, and, you should also remember that the number 42 is significant in Douglas Adams’ Hitchhiker’s Guide to the Galaxy. Now, we aren’t claiming that the VRC has the answer to “the ultimate question of life, the universe, and everything,” but we do have a fair number of useful resources that remain available to the Reed community when needing to answer a few, very specific questions that relate to life as a Reedie – the significance of that coincidence is left for you to decide.

Check out the VRC’s history and find a complete list of services and equipment at Reed.edu/VRC.

This blog post was co-written by Visual Resources Assistant and Art History major Andee Gude ’26.

Tales From the Archives: Oh, the Humanities!

By Ronan Battistoni

Roman-style dinner hosted by the Classics Club. Participants wear togas and are gathered around a low-lying square table.
A Roman-style dinner hosted by the Classics Club in 1914

There are few things more iconic to Reed College than Humanities 110. At its best, the course defines the Reed experience: intellectual rigor, lively classroom discussions, and a preference for thoughtful feedback over grades. It is also one of the places where the conflict between Reed’s left-leaning student body and the institution’s insistence on maintaining its academic traditions becomes most clear.

Early Days: 1920s-1940s

The Humanities is rooted in the educational philosophy of Richard Scholz, Reed College’s president from 1921-24. Scholz aimed to introduce more structure to the educational program designed by his predecessor, William Foster, while maintaining academic rigor and interdisciplinary perspectives.

A black and white photo of students gathered around a table for a humanities conference.
A 1940s Humanities conference

Under the Scholz presidency, students were required to take a pair of courses in their freshman year, one in history and one in literature. Each presented a broad survey of Western culture until about 1763 AD.1 By the mid-1940s, these courses were condensed into a single class: Humanities 11. In the fall semester, freshmen read the Greek and Roman canon, before shifting to medieval Europe in the spring. This structure remained virtually unchanged for thirty years.

Black Student Union Protests: 1960s

In the mid-1960s, the college received a $275,000 grant from the Rockefeller Foundation to fund minority recruitment. While the grant was successful at diversifying what had once been a homogeneously white student body, Black students reported a lack of support on campus and feelings of alienation from their white peers. This tension led to the creation of the Black Student Union (BSU), which organized for the creation of a Black Studies center and a reevaluation of the Humanities program.2

Black Student Union protestors gathered outside of Eliot Hall

BSU’s frustrations with the classical Humanities syllabus reached their peak in 1969 when several Black freshmen began boycotting registration in the course. BSU representatives argued that “Black freshmen… did not want to take a course entitled ‘Humanities’ that omitted the contributions of black people to civilization.”3 While the BSU boycott never gained the traction to significantly impact the Humanities curriculum, it planted the seeds for an ongoing conversation regarding the pedagogy and content of the course.

Reed Union: 1970s

In early March of 1971, several freshmen staged a walkout during a Humanities lecture. While the walkout was apparently without warning (or clear demands), it led to the organization of a Reed Union* on the Humanities curriculum.4

A poster with a white fist in the center. On the poster is written "students unite," "fight shit," "fight reification," and "boycott humanities lectures."
A flyer created by disgruntled freshmen in 1973, encouraging their peers to skip Humanities lectures

Unfortunately, the Union was mired in a lack of clarity regarding exactly what students wanted from the Humanities. While faculty and administration focused on rebutting requests to do away with the Humanities requirement entirely, the majority of students were interested in building a more engaging and pointed curriculum.5

For several years following the protest, the Humanities curriculum saw an unprecedented level of experimentation. From 1973-78, freshman Humanities were split into three courses: 120, 130, and 140. All three were organized around the same areas and time periods (archaic and classical Greece in the fall, and Medieval and Renaissance-era Europe in the spring), but differed slightly in scope and theme.6

Despite adjustments to the syllabus, students remained unsatisfied. Some complained that the class was overdesigned, and too vast in scope to allow for any real depth.7 Continued dissatisfaction with the lack of real writing instruction led graduate student Julianne Murray to introduce a peer-review “dorm writing” program with the support of the college.8

By the end of the decade, the three-track system was phased out and replaced with a version of the syllabus that was nearly identical to the 1960s curriculum.

New Perspectives: 2000s

A student dressed in a toga running down a hallway.
A candid captured at a Greek and Roman festival hosted by the Classics Club in the 1990s

By the early 2000s, the bulk of criticism came from within the Humanities faculty rather than students. One party sought to hold onto traditional texts while recontextualizing old materials and incorporating secondary sources more in line with a modern understanding of the classical world. This view was advocated by Philosophy professor Peter Steinberger in a 2004 Reed Magazine article, in which he referred to Humanities as “a matter of new wine poured into old bottles.”9

Others sought a much more drastic overhaul of the syllabus. A 2008 internal review of the Humanities program points to the events of September 11, 2001, as the catalyst for faculty’s growing desire to incorporate more diverse materials, especially from the Islamic world. Some suggestions included a more directly comparative syllabus (for example, a unit on epics might feature Gilgamesh, Genesis and Exodus, the Iliad, and the Aeneid) or a shift from classical Greece and Rome to another time period, civilization, or cosmopolitan center.

None of these suggestions made it off the drawing board. Objections included “the potential paucity of texts in each of these syllabi” and their lack of canonical relevance, as well as a reluctance to cast off the expertise of experienced Humanities faculty. While the writers of the report eventually came to the decision to continue the study of Greece and Rome, their attitude toward it reads as ambivalent at best. By this point, it seems to have been clear to students and faculty alike that the persistence of Classical studies in Humanities was at least on some level a case of “institutional inertia.”10

Reedies Against Racism: 2010s

Protestors gathered in a lecture hall holding signs, students watch from the audience.
RAR protestors gathered at a Humanities lecture in 2016

By 2016, long-simmering tensions within Humanities 110 reached a turning point as protests led by the student group Reedies Against Racism (RAR) broke national news. RAR had many demands: they wanted the campus designated as a legal sanctuary for immigrants, better support services for students of color, divestment from the college’s operating bank Wells Fargo, and a revival of the long-defunct ethnic studies program. But at the center of the discourse–both off and on-campus–lay a single, polarizing request: a fundamental reevaluation of the Humanities 110 syllabus.12

RAR advocates were ultimately successful at convincing the administration to move their periodic review of the Humanities program forward by a few years. By 2018, the spring semester of the Humanities curriculum had been completely overhauled to incorporate two new modules: one focused on Mexico City, and another on the Harlem Renaissance.13

What Comes Next?

A graphic comparing the Humanities 110 syllabus in Spring 2018 (in pink) to the syllabus in Spring 2019 (in white).

While the new syllabus seems to have resolved some concerns about the lack of diversity in Humanities, new challenges have come to the fore. The Religion department–a long-standing pillar of Humanities lecturers–withdrew from the course entirely in 2018. Religion professor Kambiz GhaneaBassiri explained the department’s reasoning in a Quest interview, in which he argued that the new, modular curriculum was too broad and “[did] not allow [time] for close examination of relationships between different people, societies, and cultures.” As a possible solution, GhaneaBassiri proposed a tighter syllabus, still classically focused but more diverse in scope, which could emphasize interactions between the Persian empire, India, Central Asia, Greece, and Europe.14

Students have filed a number of complaints of their own. A number of reflections printed in the Quest since 2018 bemoan the emphasis on form over content, the use of colonial texts,15 and a general lack of self-criticism in conferences regarding approaches to potentially triggering texts.16 Others echo the Religion department’s concerns about the limited amount of time allowed for each module.17

Of course, it’s not all bad: the incorporation of different mediums (including films and music), as well as increased opportunities to issues like gender, sexuality, and ethnicity in a relatively contemporary context, have been well received by students and seem to have improved engagement in the course. The sheer volume of Humanities discourse in the Quest implies that, at the very least, the course is doing its job at shaping Reedies into powerful critical thinkers.

Interested in learning more about the Humanities or RAR? Reach out to us–we’d love to hear from you! The archives team can be contacted at archives@reed.edu.

* Reed Unions are panel-style discussions between students, faculty, and administration. Most recently, community members discussed Reed’s divestment policy and response to the climate crisis at a Reed Union in 2020. While Reed Unions have no formal authority, they are a valuable avenue for communication between students, faculty, and administration who are often isolated from each other.

[1] Internal review of the Humanities 110 program. October 31, 2008.

[2] “The Struggle for Black Studies.” An Identity Crisis: Images of Student Dissent at Reed, 1966-1972, https://blogs.reed.edu/an-identity-crisis/the-struggle-for-black-studies/.

[3] The Reed College Quest, September 10, 1969.

[4] The Reed College Quest, March 15, 1971.

[5] The Reed College Quest, March 21, 1971.

[6] Reed College catalog, 1974-1975. September 5, 1974.

[7] The Reed College Quest, April 11, 1975

[8] Julianne Murray, “Dorm Writing Group Project Report.” January 1980.

[9] Peter J. Steinberger, “The (Un)Changing Face of Hum 110.” Reed Magazine August 2004. https://www.reed.edu/reed_magazine/aug2004/features/hum_110/index.html

[10] Internal review of the Humanities 110 program. October 31, 2008.

[11] Brandon Zero, “Learning from the Past.” Reed Magazine, July 12, 2021. https://www.reed.edu/reed-magazine/articles/2021/reedies-against-racism-learn-from-the-past.html.

[12] Mary James, “Summary of Progress on Student Demands.” December 6, 2016.

[13] Humanities 110 syllabus, 2018. https://www.reed.edu/humanities/hum110/syllabus/.

[14] Elai Kobayashi-Solomon, “Losing Faith.” The Reed College Quest, September 14, 2018. https://reedquest.org/articles/losing-faith.

[15] Mud Bentley and Albert Kerelis, “Student Thoughts on Hum 110.” The Reed College Quest, March 19, 2021. https://reedquest.org/articles/humthoughts21

[16] Eva Goeke, “Lines Crossed.” The Reed College Quest, February 25, 2022. https://reedquest.org/articles/lines-crossed.

[17] Olivia Hicks, “Letter to the Editor: A Reflection On Humanities 110.” The Reed College Quest, April 30, 2021. https://reedquest.org/articles/humopinion.

Tales from the Archive: The Big Debate: Graffiti at Reed, 1980-2021

Graffiti at Reed has been a contentious debate for the past four decades amongst both students and faculty. Some have viewed it as a valuable expression of free speech and student autonomy. Others have considered its presence a nuisance, one that degrades the college’s quality and reputation. Most of Reed’s graffiti has taken on a political bent, though at times it has purely been comical. From the 1980s till now the Reed College Quest has been the primary arbiter between those in support and those against graffiti. 

The debates surrounding graffiti in the 1980s were varied, with one article from November 14, 1984, decrying its existence due to its obscene nature. While the author acknowledges that graffiti on campus can be humorous, she critiques its occasional breach into problematic territory. On one such occasion, a student wrote on a bicycle ad that “Women shouldn’t ride bikes anyway.” We can all agree this is a poor use of ink, especially in an era when women’s rights were increasingly threatened. This was the 80s, when Ronald Reagan and the nascent Evangelical right were becoming increasingly powerful, and along with them came attacks on women’s reproductive rights. In 1987, another article, “Metaphysical Graffiti”, praised graffiti’s prevalence. Written in response to the erasure of graffiti by other students and campus services, the author argues that graffiti at Reed is unique when compared to “regular outside of Reed graffiti” insofar as it is creative, witty, and intellectual. Hence, “graffiti at Reed [should not be] thought of as defacing property so much as an anonymous forum for the expression of a diverse number of views”.

The article then discusses how different departments at Reed have their own brand of graffiti, like the Chemistry department’s graffiti which featured a chemical formula to make “Five-Pronged Werewolf Slayer.” Instead of erasing graffiti, the author argues it should be preserved and designated to particular spaces. 

The 1990s brought about an era in which students were much less keen on graffiti’s ubiquity. This is, in part, due to dramatic increases in graffiti and general vandalism which occurred at the school during the era. The debate hit its peak in the late 1990s, with 1997 featuring almost monthly articles on graffiti’s prevalence. In February of that year, one article claimed that “graffiti as a means of social expression is tantamount to ethical cowardice insofar as the accountable party does not take responsibility for his/her viewpoints”. This was in response to the defacing of the new commons, which had recently been renovated. Another article published the same year, “Are We Gettin More Destructive?”, presented various arguments for why Reedies are “more destructive” than they once were, and argued that graffiti is the most obvious example of this increase in destructive habits.

Another hypothesis for the rise in graffiti was the closure of Commons’ lower level, a space traditionally used for student activities, which had the dual purpose of serving as a “natural outlet” for destructiveness on campus. Additionally, the lower level of commons was apparently used as a “sexual clearinghouse for the campus,” and because of its closure, students “have taken their excess sexual tension and channeled it into destroying the campus”. Another theory for the rise in graffiti is an increased number of students who are “volatile drunks and addicts [who] roam the campus,” who in their inebriated states wreak havoc on Reed’s infrastructure. While these are all compelling theories, the prevalence of graffiti certainly has not abated and continues to this day.

Graffiti at Reed in the twenty-first century has remained a staple of the SU and in campus bathroom stalls, and the occasional monumental design can be found on the side of buildings. To this day, both graffiti’s presence and its erasure by campus services is still being debated, with 2020 being a particularly controversial year due to the country’s political environment. While most graffiti has been tame, there have certainly been instances where graffiti has been used in harmful ways. If you want to see more pictures check out our digital collections, or visit special collections and archives, or email us at archives@reed.edu.

Tales from the Archive: Divestment and the Occupation of Eliot Hall

In a recent email to the campus community, President Audrey Bilger and Chairman of the Board of Trustees Roger Perlmutter declared that Reed would “prohibit any new investments in public funds or private partnerships that are focused on the oil, gas, and coal industries, including infrastructure and field services… [and] phase out all such existing investments in private partnerships in accordance with the funds’ typical life cycles.”

Bilger and Perlmutter acknowledged the efforts of student organizations like Greenboard and Fossil Free Reed in the Board’s decision to divest—but did you know that the history of student organizing for divestment goes as far back as the 1980s? The first big push for selective investment at Reed was driven by increasing concern about the South African apartheid state.

February 1985

The Reed College Quest published a special issue on apartheid, in which the editorial board took an official stance in favor of full divestment of college funds from companies doing business in South Africa. According to the Quest’s estimate, approximately $4.296 million of Reed’s endowment was invested in corporations with ties to the apartheid regime. The Quest editors argued that these investments made the college complicit in the exploitation of Black South Africans. In the following weeks, Quest editor Christopher Phelps and several other students organized the South African Concerns Committee (SACC), and started devising strategies to push the college’s administration toward divestment.

October 1985

SACC held its first mass demonstration, a non-disruptive protest in Eliot Hall. Not long after, SACC presented a petition to the Trustees that demonstrated over 50% of the college community favored full divestment. During the Trustees’ October meeting, the board chose to defer their decision to January 1986. In response, twenty-five students, unsupported by SACC, occupied Bragdon’s office in protest. Their attempts at negotiation with Dean of Students Susan Crimm were unsuccessful, and occupiers left the office after fifty-two hours.

January 1986

Bragdon delivered the college’s official statement on divestment: Reed would maintain its current investment portfolio, to the extent that it followed the Sullivan Principles**. In response, approximately one hundred students immediately took control of Eliot Hall, blocked all access to non-students, and demanded that the Trustees vote in support of full divestment and create more democratic financial decision-making structures. The use of barricades and unarmed guards at Eliot Hall’s entrances made the demonstration far more controversial than any prior SACC or divestment-related protests.

February 1986

The occupation of Eliot ended when occupiers reached an agreement with Bragdon and Crimm to establish a joint student-Trustee committee to deliberate on divestment and other issues of importance to the student body. Three other students levied an honor case against the occupiers, and argued that they had caused harm to the community by disrupting access to classrooms, the financial aid office, and other important spaces in Eliot. The Judicial Board decided that the occupiers were in violation of the honor principle.

Late 1980s

SACC renamed itself Reed Out of Africa and continued to push for full divestment, but was unsuccessful. Several students occupied the development office in Eliot Hall, but found that the administration was far less willing to attempt negotiation with them than before and received suspensions. Following Bragdon’s departure from the college in 1988, the issue died down.

Interested in learning more about the history of divestment efforts at Reed? Email us at archives@reed.edu, or visit our website!

* Divestment refers to the selective selling-off of business interests and investments, in compliance with set ethical demands. Apartheid divestment campaigns ranged from calls for divestment from companies that directly profited from the exploitation of Black South Africans (known as “partial divestment”), to companies that did any business in South Africa whatsoever (“full divestment”). While divestment has limited efficacy when it comes to placing financial pressure on companies and institutions, its modern proponents argue that it creates a moral stigma around unethical industries and labor practices. 

** The Sullivan Principles were first published in 1977 by Reverend Leon H. Sullivan. They urged global “corporate social responsibility” through a set of seven principles intended to promote equal-opportunity employment practices. Over time Rev. Sullivan became increasingly disillusioned by their ability to effect social change, and by October 1985, he issued an ultimatum in an interview with New Yorker Magazine: “If apartheid is not abolished in actuality [within the next two years], all foreign corporations should leave [South Africa]. This should be followed by a total ban on all imports and exports.”

Works Cited

  • Byshenk, Greg, Lynn Decker, and Michael Ames Conner. “Recent Topical History in Several Parts.” Reed College Student Handbook, August 7 1989.
  • Kahn, E.J. “Sullivan Redux.” New Yorker Magazine, October 7 1985.
  • Phelps, Christopher. “Reed and Apartheid.” The Reed College Quest, February 5 1985.
  • Sullivan, Leon H. 1984. “The Global Sullivan Principles.” University of Minnesota Human Rights Library. http://hrlibrary.umn.edu/links/sullivanprinciples.html

2020 Census talk with Se-ah-dom Edom of We Count Oregon

SEEDS, We Count Oregon, and the Reed Library collaborated to create a series of videos to discuss the 2020 Census with We Count Oregon, whose primary focus is to enumerate folks from hard to count communities. Check out the videos:

About Se-ah-dom Edmo

Se-ah-dom Edmo is Shoshone-Bannock, Nez Perce & Yakama, she has joined the #WeCountOregon team as the Tribal Community Coordinator. She brings deep experience in community organizing for racial and social justice work across the nation. She is co-editor of the Tribal Equity Toolkit 3.0: Tribal Resolutions and Codes for Two-Spirit and LGBT Justice in Indian Country and American Indian Identity: Citizenship, Membership & Blood. Prior to joining the #WeCountOregon campaign, she served as the Sovereignty Program Director at Western States Center where she was the coalition convener of Tribal History: Shared History (Senate Bill 13, 2017) in Oregon – this law established and funded teaching of Indian History and Sovereignty in K – 12 Schools across the state. A hallmark of her career has been fostering relationships and collaborations between tribes and organizations that do social, racial, environmental, and economic justice work across the region. She is currently a member of the Steering Committee of Oregon Recovers and is an ALF Senior Fellow. She lives in Portland with her husband James and their children Siale, Imasees and Miyosiwin, as well as her parents, Ed and Carol Edmo. Se-ah-dom’s ancestors are from Celilo, a fishing village along the Columbia River and one of the oldest known settlements in the West.

Echoes of Harlem

There’s a time travel portal next to the reference desk.

1920s and 1930s Harlem NYC was a time when African American arts and culture flourished. Jazz music from Billie Holiday and Louis Armstrong could be heard floating from Harlem nightclubs. Painters such as Jacob Lawrence and Archibald Motley chronicled the daily lives of African Americans.

It was also a politically and racially charged time in US history. If you walked down 5th Avenue you might see a black flag hanging from the NAACP office that proclaimed “A MAN WAS LYNCHED YESTERDAY” in bold white lettering.

Whether you’re interested in Harlem Renaissance aesthetic, culture, or politics, our book display has something for you. Come discover a good read and learn about the Echoes of Harlem that still reverberate throughout NYC and the USA today.

All items available for checkout!

Save the date: Algorithms of Oppression

Join us for Black Celebration Month: Algorithms of Oppression

Thursday February 20, 2020 at 6:30pm Vollum Lecture Hall

Safiya Umoja Noble is an associate professor at the University of California, Los Angeles in the departments of information studies and African American studies. She is also co-director of the UCLA Center for Critical Internet Inquiry. Safiya is the author of a best-selling book on algorithmic discrimination by internet platforms, Algorithms of Oppression: How Search Engines Reinforce Racism. 

Dr. Safiya Umoja Noble

She is the recipient of a Hellman Fellowship and the UCLA Early Career Award. She is regularly quoted for her expertise about technology bias in society in news outlets including The Guardian, the BBC, CNN International, USA Today, Wired, Time, Full Frontal with Samantha Bee, The New York Times, NPR’s Marketplace, CBS Radio, and is the co-editor of The Intersectional Internet: Race, Sex, Culture and Class Online and Emotions, Technology & Design. She holds a PhD and MS from the Information School at the University of Illinois at Urbana-Champaign and a BA in sociology from California State University, Fresno.

Noble’s talk will be followed by a reception in the Library.

Co-sponsored by the library, the Office of Institutional Diversity, the Dean of the Faculty, the department of computer science, and the office of Computing and Information Services. Free and open to the public.

Hidden Histories of Race & Reed

New exhibit! “Hidden Histories of Race & Reed”, developed and curated by Ashley San Miguel and Maya Arigala, opened in the second floor Eliot Hall display cases Friday December 13th.

Flyer for exhibit. Black and white photograph of Reed students protesting outside of Eliot Hall with signs. Flyer text reads: "Exhibit unveiling: hidden histories of race & Reed. Join us at the second floor Eliot display cases! December 13th Drop in between 5pm-7pm. Reception in Eliot 216, food will be provided. Vegan & GF options. Sponsored by: social justice fund, library archives, office for institutional diversity. Email ashsanmic@reed.edu or arigalam@reed.edu with questions."

This exhibit uses items from the Reed College Archives to chart the 1968 Black Student Union (BSU) protests to install a Black Studies Center at Reed, and the subsequent rise and dissolution of the center just a few years later.

Black and white photograph of Reed students protesting outside of Eliot Hall with signs. The photograph is the same as used in the event flyer.
Black Studies Demonstration, Eliot Hall 1968. Photograph by Stephen S. Robinson, class of 1972.