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Course Criteria
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3.00 Credits
L. Kruger. Winter.
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3.00 Credits
R. von Hallberg, A. Zagajewski. Autumn.
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3.00 Credits
This course examines themes in poems and in popular song-lyrics that include devotion, sentiment, serial desire, bought love, and aged love. Many song-lyrics are tin pan alley tunes, often in their jazz versions. Students are encouraged to suggest songs that have particularly strong lyrics. Poems come from various historical periods, with the Norton Anthology of Poetry as our source. R. von Hallberg. Spring.
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3.00 Credits
Sex is a big problem. How do we think about sex in proximity to considering the ethics of risk, the ethics of harm, the potential for good Developing an account specifically of an ethics of sex requires thinking about the place of sex and sexual vulnerability in social life with an eye toward understanding what's good and what might count as abuses, violations, disruptions, or deprivations of specifically good things about sex. In this course, we read, write, and think about sex and ethics in relation to a variety of the rubrics such as: act, harm, fantasy, a good, technology, health, disability, and love. Probable syllabus contents involve philosophy, cinema, literature, and social science, including work by: Leo Bersani, David Halperin, Andrea Dworkin, Mladin Dolar, Teresa de Lauretis, Patrick Califia, G. E. M. Anscombe, Barbara Herman, Catherine MacKinnon, Dennis Cooper, Stephen Elliot, Pat Califia, and Ron Athey. L. Berlant, C. Vogler. Winter.
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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
This course focuses on film noir in a broad sense, including neo-noir. We attend to some of the conventions of the genre in terms of plot, characterization, and cinematography. There is also a thematic focus: How is trust constructed in these films What are the features of trust that most directly affect political systems Is trust among men much different from that among men and women in heterosexual relationships We interpret a set of films as utopian efforts to imagine trusting lives. Films include The Maltese Falcon, The Big Sleep, Kiss Me Deadly, Out of the Past, Touch of Evil, Notorious, Narrow Margin, Blast of Silence, Night and the City, Criss Cross, The Postman Always Rings Twice, Gilda, Double Indemnity, Rififi, Chinatown, LA Confidential, Band of Outsiders, Bob le Flambeur, and Le Samourai. R. von Hallberg. Autumn.
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2.00 Credits
PQ: Prior or concurrent enrollment in CMST 10100. This is the first part of a two-quarter course. Taking these courses in sequence is strongly recommended but not required. This course introduces what was singular about the art and craft of silent film. Its general outline is chronological. We also discuss main national schools and international trends of filmmaking. J. Lastra. Autumn.
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3.00 Credits
This course examines William Faulkner's screenwriting for Hollywood studios, the reception of his novels and stories in studio story departments and the Production Code Administration, and the films that were adapted from his work. We pay particular attention to Faulkner's "potboiler," the 1931 no vel Sanctua ry, its 1951 sequ el, Requiem for a N un, the 1956 theatrical adaptat ion Requiem pour une no nne by Albert Camus, and the film adaptati ons The Story of Temple Dra ke (1933) and Sanctua ry (196 1). E. Binggeli. Sprin
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3.00 Credits
PQ: Prior or concurrent registration in CMST 10100 required; CMST 28500/48500 strongly recommended. The center of this course is film style, from the classical scene breakdown to the introduction of deep focus, stylistic experimentation, and technical innovation (sound, wide screen, location shooting). The development of a film culture is also discussed. Texts include Thompson and Bordwell's Film History: An Introduction; and works by Bazin, Belton, Sitney, and Godard. Screenings include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir. Y. Tsivian. Spring.
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3.00 Credits
PQ: Petition to Associate Chair for Undergraduate Studies and consent of instructor. These reading courses must include a final paper assignment to meet requirements for the ENGL major and students must receive a quality grade. Students may not petition to receive credit for more than two ENGL 29700 courses. Students are required to submit the College Reading and Research Course Form. An instructor within ENGL agrees to supervise the course and then determines the kind and amount of work to be done. Autumn, Winter, Spring.
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