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Course Criteria
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3.00 Credits
PQ: Consent of instructor. This course introduces the theory of Kolmogorov Complexity with an emphasis on its use in theoretical computer science, mostly in computational complexity. If time permits, we may briefly touch on its uses in statics, prediction, and learning. J. Simon. Autumn.
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3.00 Credits
PQ: Consent of instructor. Topics are covered in computational complexity theory with an emphasis on machine-based complexity classes. Autumn. Not offered 2009 C10; will be offered 201 0 -11.
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3.00 Credits
PQ: Consent of instructor. Topics are covered in computational complexity theory with an emphasis on combinatorial problems in complexity. A. Razborov. Spring.
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3.00 Credits
PQ: Consent of instructor. This course is a seminar on topics in computational geometry. K. Mulmuley. Autumn. Not offered 2009 C10; will be offered 201 0 -11.
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3.00 Credits
PQ: Consent of instructor. This course is a seminar on current research in theoretical computer science. Autumn, Winter, Spring.
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3.00 Credits
This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles. Autumn, Spring.
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3.00 Credits
Many distinguished filmmakers have found inspiration in mystery novels written by women. This course is a reading of novels by Patricia Highsmith ( Strangers on a Train, The Talented Mr. Ripley, Ripley's Game) and Ruth Rendell (Tree of Hands, The Bridesmaid, Live Flesh). Time permitting, we also read Laura by Vera Caspary, Bunny Lake Is Missing by Evelyn Piper, and Mischief by Charlotte Armstrong. We also analyze the films based on these novels, directed by such luminaries as Hitchcock, Chabrol, Caviani, Clément, Wenders, Almodóvar, and Preminger. Topics include techniques of film adaptation; transnational dislocations from page to screen; the problematics of gender; and the transformations of "voice," understood both literally and mediatica lly. R. West. Wint
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3.00 Credits
Students in this course screen and discuss films to consider whether there is a Chicago style of filmmaking. We trace how the city informs documentary, educational, industrial, narrative feature, and avant-garde films. If there is a Chicago style of filmmaking, one must look at the landscape of the city; and the design, politics, cultures, and labor of its people, as well as how they live their lives. The protagonists and villains in these films are the politicians and community organizers, our locations are the neighborhoods, and the set designers are Mies van der Rohe and the Chicago Housing Authority. J. Hoffman. Spring.
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3.00 Credits
PQ: Background in cinema studies or prior film course(s). The year 1960 is commonly understood as a watershed in U.S. film history, marking the end of the so-called "classical" Hollywood cinema. We discuss this assumption in terms of the break-up of the studio system; the erosion of the Production Code; the crisis of audience precipitated b y television ? mass spread; and the changing modes of film reception, production, and style under the impact of video, cable, and other electronic communication technologies. We also relate cinema to social and political issues of the post-1960s period and ask how films reflected upon and intervened in contested areas of public and private experience. With the help of the concept of "genre" (and the changed "genericity" of 1980s and 1990s films) and of the notion of "national cinema" (usually applied to film traditions other than the United States), we attempt a dialogue between industrial/stylistic and cultural-studies approaches to film history. M. Hansen.
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3.00 Credits
PQ: Third- or fourth-year standing, and at least one prior course in modern drama or film. Working knowledge of French helpful but not required. Beckett is conventionally typed as the playwright of minimalist scenes of unremitting bleakness. But his experiments with theater and film echo the irreverent play of popular culture (vaudeville on stage and film, including Chaplin and Keaton) and the artistic avant-garde (Dreyer in film; Jarry and Artaud in theater). This course juxtaposes this early twentieth-century work with Beckett's plays on stage and screen, as well as those of his contemporaries (Ionesco, Duras) and successors. Contemporary authors depend on availability but may include Vinaver, Minyana, and Lagarce (France); Pinter and Greenaway (England); and Foreman and Wellman (United States). Theoretical work may include texts by Artaud, Barthes, Derrida, Josette Feral, Peggy Phelan, and Bert States. L. Kruger. Spring.
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