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Course Criteria
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1.00 Credits
The world of Korean cinema, broadly defined in terms of national, generic, theoretical boundaries, beyond conventional auteur, genre, one-way influence, and national cinema theories. Cinematic texts examined in local, regional, and global contexts and intersections, in conversation with global theories and histories of cinema, visual cultures, and other representational forms. Variable topics informed theoretically and politically by discourses on gender/sexuality, race/ethnicity, global flows of people and cultures, popular and "high" culture crossovers, transnational co-productions, remakes, translations and retellings. No knowledge of Korean language/ culture presumed. Instructor: Kwon
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1.00 Credits
A comparative approach to Israeli cinema, in the context of American and European cinemas. Cinema and nationalism. Cinematic representations of social, political, racial, and ethnic tensions and fissures: social gap, immigration to and emigration from Israel, militarism and civil society, masculinity and femininity, and the Israeli-Arab conflict. Popular culture and its relationship with high culture. Instructor: Ginsburg
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1.00 Credits
Introduction to German film, film theory, and reception. Emphasis on history and cultural background of films. Topics include Expressionism, Nazi and postwar films, New German cinema, DEFA. Films subtitled, readings and discussions in English
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1.00 Credits
Introduces cinemas in different colonial contexts, such as British in India, French in Africa, and Japanese in East Asia. Surveys colonial cinemas produced by the colonizer to legitimate colonial enterprises and their postcolonial counterparts. Examines the decolonial strategies registered in postcolonial cinemas as responses to, or ¿reflections¿ of, their colonial legacy. Maps the larger historical contexts of colonialism since the late 19th century and reflects on the current transnational trend of globalization. Instructor: Hong, Kwon
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1.00 Credits
Introduction to film studies with emphasis on uses and functions of sound, film music, sound and other aural objects such as the voice, through a selected body of works. Topics include representations of sound, music and voice, the functions of pre-existing music and their relations with the moving image in cinema and television; gendered representations of music and voice in pop and rock music videos; Hollywood practices and non-Hollywood practices. Instructor: Waeber
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1.00 Credits
Films on the French classical era, readings of related texts, and film reviews. Analysis of themes/preoccupations from seventeenth century to today. The nature of classicism and its role in shaping of a French mentalité. Instructor: Longino
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1.00 Credits
Surveys representations of the Jewish Holocaust in World Cinema Explores different filmic strategies employed to represent what is commonly deemed as ¿beyond representation¿ Examines the heated debate spurred by a number of Holocaust films. Asks whether anything is permissible in representing such an event: Is there an appropriate way, in contradistinction to inappropriate way, to represent the Jewish Holocaust? Instructor: Ginsburg
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1.00 Credits
The origins and development of the revolutionary and experimental cinema in Russia during the last years of the Empire and after the seizure of power by the Bolsheviks in 1917. Films include the classics of the silent Soviet cinema directed by Eisenstein as well as other films by other influential directors. The transition into the Stalinist cinema of the 1930s and comparisons with Hollywood films of that era. Instructor: M. Miller
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1.00 Credits
Post-World War II Soviet and United States identity and culture explored through the lens of dissident film art; the use of inter-textuality and contrasting media to critique culture; film and visual art studied in relation to other modern, post-modern, positivist modes of expressing and constructing knowledge. Instructor: Gheith
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1.00 Credits
Inquiry into sources of "resonance" in international cinema with emphasis on films from Asia and the Middle East. The object of the course is to attempt a description of aspects of film construction which conduce to intense experience for viewers. Readings in indigenous aesthetics. Instructor: Khanna
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