In attempting to address a broad range of students, introductory film studies curriculum serves to reinforce the marginalization of certain student identities that do not conform to hegemonic ideals reinforced through traditional, canonical analysis. In this study, I argue that marginalized students perform José Esteban Muñoz’s disidentification as a way to move through the traditional curriculum. Through a multi-method approach that includes content analysis, critical discourse analysis, and comparative analysis, this dissertation considers the organizational structure, language, and examples used in five mass-market, introductory film studies textbooks. The study revealed four cartographic rules of knowledge construction that guide introductory film studies curriculum. These cartographic rules illuminate how traditional, canonical, introductory film studies curriculum privileges western, white, patriarchal, heteronormative ideologies within critical film literacy. A reconsideration of the traditional, canonical approach is needed in order to provide a more inclusive and interdisciplinary curriculum. I posit a revision of the traditional, canonical view that, rather than privileging the filmmaker and filmic text as eminent maker of meaning, focuses instead on individual student meaning-making. Lastly, I provide examples, readings, and activities that move toward a more inclusive, student-centered curriculum
