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Course Criteria
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3.00 Credits
The history of cinema as representation and interpretation of "reality," focusing on nonfiction film and video from a variety of periods and geographic locales. Emphasis on the ways in which nonfiction films can subvert viewers' conventional expectations and their personal security. Forms to be discussed include the city symphony, ethnographic documentary, propaganda, nature film, direct cinema, cinéma vérité, the compilation film and personal documentary. (Same as Art History 290.)
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3.00 Credits
A history of alternatives to commercial movies, focusing on surrealist and dadaist film, visual music, psychodrama, direct cinema, the film society movement, personal cinema, the New American Cinema, structuralism, Queer cinema, feminist cinema, minor cinema, recycled cinema and devotional cinema. While conventional entertainment films use the novel, the short story and the stage drama as their primary instigations, experimental and avant-garde films are analogous to music, poetry, painting, sculpture and collage. Not open to first-year students. (Same as Art History 301).
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3.00 Credits
Focus on the ways in which the histories of film and literature have intersected. Discussion of implications of adapting narrative and dramatic fiction to the screen. Also evokes the history of the use of visual text in film - in titles, intertitles, subtitles, credits - as a background for exploration of the wide range of creative uses of visual text evident in the work of independent filmmakers. Filmmaker guests will be invited to talk about their work. Prerequisite, one course in literature or film. (Same as Art History 319.)
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3.00 Credits
Readings from several of China's greatest literary works (including histories, novels, opera and poetry) such as Sima Qian's Records of the Grand Historian and The Romance of the Three Kingdoms. Reexamination of widely held assumptions about history and fiction with discussions and writing assignments on the role played by different genres as sources for knowledge about the past. Emphasis on authors' attitudes in shaping narrative accounts of heroes, bandits, assassins, scholars, women and emperors. (Writing-intensive.) Prerequisite, 280, 285 or consent of instructor. (Same as History 338.) Maximum enrollment, 12.
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3.00 Credits
What does it mean to be free? Aren't we all prisoners? Why are themes like goodness, beauty and order associated with freedom and transcendence? Conversely, why are iconoclastic beliefs and nonconformist behaviors sometimes depicted as liberating and transformative? We will explore ideas of "freedom" as well as the chains of circumstance, life and the world in Plato, Cervantes, Calderon, Angela Davis, Kurt Vonnegut, Anthony Burgess and others. Themes to include movement, community, individuality, law, body, divinity and otherness. Prerequisite, one course in literature or Africana studies. Maximum enrollment, 16.
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3.00 Credits
Analysis of 19th- and 20th-century works in which stark visions of the human condition are paradoxically presented in comic terms. Emphasis on the techniques by which the apparently contradictory tendencies of humor and terror are fused, as well as the reasons (psychological, philosophical, political and aesthetic) why writers, film-makers and composers have been attracted to this device. Readings by such writers as Gogol, Dostoevsky, Kafka, Nabokov, Ionesco and Burgess; study, as well, of such films as Pulp Fiction and Fargo and such operas as Strauss' Salome. Prerequisite, two courses in literature or consent of instructor.
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3.00 Credits
An exploration of the many ways filmmakers and video-makers have explored and depicted the American landscape and cityscape. Extensive screenings of accomplished films and videos, contextualized by discussions of painting and photography; by readings of novels, stories, poems by Henry David Thoreau, Mary Austin, William Faulkner and others; by place-oriented films from other cultures; and by visiting filmmakers.
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3.00 Credits
Traces the history of one of the world's most innovative film industries. Since the early 20th century, Japanese film makers have experimented with and improved upon cinema; their work has been influential not only in Japan but throughout the world. From the drama of early silent movies to anime, we'll cover some of the "greatest hits" of Japanese film, whether widely popular or critically acclaimed. This exploration of cinema in Japan will offer both a new perspective on cinema itself as well as an opportunity to view the genre's development in a specific cultural context. (Oral Presentations.) Prerequisite, Cinema and New Media Studies 120, Comparative Literature 120, Art History 120, any 200-level course in Asian studies or comparative literature, or consent of the instructor. No prior knowledge of Japanese history, language or film required. Mandatory screenings on Mondays. (Same as East Asian Languages and Literatures 356.)
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3.00 Credits
A general introduction to the wide world of cinema and cinema studies, focusing on crucial films from many cinematic traditions. Topics include the evolution of film from earlier forms of motion picture, the articulation and exploitation of a narrative language for cinema, the development of typical commercial genres, and the appearance of a variety of forms of critical cinema. Focuses on basic film terminology, with the cinematic apparatus and ongoing theoretical conversation about cinema and its audience. (Same as Cinema and New Media Studies 120 and Art History 120.) MacDonald.
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3.00 Credits
Why are trials so fascinating? Our emphasis will be on the ways they clarify values, establishing borders between acceptable and unacceptable behavior, with attention to how they enforce cultural norms concerning race, gender, and sexuality. We will discuss literary and cultural representations of historical trials, such as those of Socrates, Joan of Arc, Galileo, the Salem Witches, and Oscar Wilde. Course materials to include readings from Aeschylus, Plato, Shaw, Brecht, Stendhal, Kafka, Camus, Morrison, as well as films and other primary and secondary sources. (Writing-intensive.) (Proseminar.) Open to first-year students only. Maximum enrollment, 16. N Rabinowitz.
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