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Course Criteria
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3.00 Credits
Visual literacy is an emerging area of study which deals with the growing importance of visual culture in our contemporary world and how we interpret what is seen. This course will emphasize the process of critically viewing specific media artifacts and provide tools to students that will allow them to comprehend and evaluate information presented by a variety of forms of visual media, including television, video, film, photography, and the internet. This is a Hybrid course requiring students to attend scheduled workshops and participate in online discussions and activities. Workshops dates: 9/11, 10/9 and 12/4/2010.
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3.00 Credits
This course surveys major film genres--the western, the musical, the detective film, the screwball comedy, etc. We will trace the history of film genres from the studio era to the present, including European transformations. The course seeks to relate film genres to the culture that created them.
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3.00 Credits
This course both introduces students to techniques of film analysis and acquaints them with major works and movements in international cinema. The course pays particular attention to the evolution of film narrative and visual style and landmarks in film development--European avant-garde films, the British documentary, the classic Hollywood film, etc.
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3.00 Credits
Photography’s basic function is to record. So, what and who are worth documenting? Who has the right to photograph, who and what is represented and why? How do images affirm or debunk our stereotypes about “others” and how does difference and identity emerge through photography? American Photography/American Culture explores these questions by examining American Photography of African Americans, Native Americans, union workers, celebrities, the Japanese interned, and more. Photographic work by and of those of varying backgrounds is collectively viewed and discussed in order to further understand photography’s relationship to the social history of race and class in the United States, and to examine ourselves and our relationship to those like/unlike us. American Photography/American Culture spans photography’s early developments until the early part of the 21st century. Photography by those such as Bill Burke, Teenie Harris, James Van Der Zee, Walker Evans, P.H. Polk, Edward S. Curtis, Toyo Miyatake, and Beth Yarnelle Edwards is examined and discussed. Readings from the course packet include essays by leading photo critics and critical theorists such as Theresa Harlan, bell hooks, Vicki Goldberg, Andy Grundberg, Deborah Willis and Karin Higa.
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3.00 Credits
PITT-IN-LONDON To be announced.
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3.00 Credits
This course will explore the status of the human body as represented in film, a cultural medium identified with various modes of spectacle. We will begin by a consideration of the body in early precursors to the cinema—for instance Eadweard Muybridge’s photographic “motion studies” or primitive X-ray photography--and work our way up to the contemporary scene (in which digitally created characters (and actors) complicate the corporeal universe). In our engagement of the topic, many class sessions will consider how the body is figured in various film genres (e.g. the musical [in which the body is graceful and choreographed], the melodrama [in which the bodily expresion transcends dialogue], the horror film [in which the abject body perversely transforms], the martial arts film [in which the body is a violent weapon], the romance [in which the beautiful body must attract], the sports film [in which the athletic body shows strength and endurance], the war film [in which the body suffers], the science fiction film [in which the body is a cyborg], the crime film [in which the body leaves clues], and/or the pornographic film [in which the body sexually stimulates the viewer]). Beyond genre, our discussions will also consider such broad theoretical topics as: the gendered body, the aging body, the racial body, the “national” body, and the manner in which film style “transforms” the body (e.g. fragmentation through close-up). Readings on the topic will be drawn not only from Film Studies (e.g. Linda Williams, Lisa Cartwright, Peter Lehman, Steven Shaviro) but from broader Cultural Studies (e.g. Thomas Laquer, Susan Bordo, Elaine Scarry or Helena Michie). Requirements will include a seminar paper and class presentation.
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3.00 Credits
THIS COURSE WILL EXPLORE THE ONGOING AND SHIFTING TREATMENTS OF GENRE FILM WITHIN THE PROCESSES OF TRANSNATIONALISM. THE SCREENINGS AND THE READINGS WILL FOCUS ON THE ECONOMIC, POLITICAL, AND CULTURAL DIMENSIONS OF TRANSNATIONAL FILM. STUDENTS WILL EXPLORE QUESTIONS OF GENRE AS WELL AS GAIN FAMILIARITY WITH THE LITERATURE ON GLOBALIZATION AND TRANSNATIONALISM. THE SCREENINGS SELECTED FOR EXAMINATION HAVE A GERMAN AND EUROPEAN FOCUS YET REVEAL COMPLEX AND EVEN HEGEMONIC RELATIONS TO DIFFERENT PARTS OF THE WORLD. THE COURSE WILL BE TEAM-TAUGHT BY MARCIA LANDY AND RANDALL HALLE.
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3.00 Credits
An introduction to the short story and various critical approaches to literary interpretation. This course is designed to serve as the “writing” course for engineering students relocating to Pittsburgh.
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