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Course Criteria
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1.00 Credits
Sources of vitality in twentieth-century Indian cinema. The resilience of popular cinema in the face of Hollywood. Narrative and non-narrative expressive forms in folk and high culture in India. The work of Guru Dutt, Satyajit Ray, G. Aravindan, and Mani Kaul. Instructor: Khanna
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1.00 Credits
Topics may vary. Instructor: Yoda
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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
An introduction to the history of Japanese cinema focusing on issues including the relation between the tradition-modernity or Japan-West in the development of Japanese cinema, the influence of Japanese films on the theory and practice of cinema abroad, and the ways in which cinema has served as a reflection of and an active agent in the transformation of Japanese society. Instructor: Yoda
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1.00 Credits
Films, documentaries, television series, and soap operas produced in Mainland China in the post-Mao era, modern and contemporary Taiwan, and Hong Kong. Topics include the history and aesthetics of the new wave cinema, soap operas as the new forum for public debate o popular culture, and debate over the relationship between Euro-American modernist and the national cinema. C-L Film Video. Instructor: Hong
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1.00 Credits
Introduction course to Italian cinema including silent films, Neorealism, fascist productions, Commedia all'italiana and experimentalism. Reading and discussions in English. Instructor: Dainotto and staff
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1.00 Credits
Cinematic (film and television) responses to the terror that plagued Germany in the 1970s and 1980s. Red Army Faction (RAF)and other violent groups of extreme left compared with contemporaneous groups in the United States (e.g., Black Panthers) as well as terror at present. How German culture imagines, explains, and remembers terror perpetrated by its own citizens. Taught in English. Instructor: Donahue
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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
Distinctively cinematic engagements with principal themes in the existentialist tradition: isolation and alienation, identity and commitment, perception and reality, communication and contact, madness and sanity. In-depth exploration of culturally specific filmic modes of capturing, processing, and transmitting images of human life and the myriad issues, moral conflicts, and dilemmas that inform it. Films to be considered will vary with different offerings of the course, but may include works of directors such as Herzog, Schloendorff, Fassbinder, Wenders, Bergman, Antonioni, Kurosawa, and Godard, among others. Instructor: Morton
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1.00 Credits
Understanding nationhood through film culture. Industrial base, reception history, and critical context for development of national cinemas. Exemplary films from a range of periods. Instructor: Staff
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