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Course Criteria
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3.00 Credits
This course explores the modernist reinvention of the novel that occurred in those countries of Europe that until recently were part of the Soviet Bloc: Poland, Hungary, East Germany, Romania, Yugoslavia, and Czechoslovakia. The course begins with Franz Kafka and his harrowing dreams of the modern world, and the place of the individual in it, which anticipate many experiences of this century. The works read register the historical experiences of the first and second World Wars and of the totalitarian states that emerged after 1945. (Weiss, offered alternate years)
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3.00 Credits
The subject of this course is a selection of mainstream studio and independent films which respond in some way to contemporary debates around political and social issues such as national identity, war, racism, sexism, class divisions, sexual identity, masculinity and femininity. Students study each film in narrative and visual detail in order to see how the film system can work not only to mask and naturalize ideological positions and assumptions but to dismantle them and make them visible. (Lyon, Spring, offered annually)
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3.00 Credits
This course examines the various ways in which the Hollywood film industry reflects on and represents its own conditions of existence. Students view a variety of films from different genres and historical moments, each of which reflects in its own way on the aesthetic, ideological and economic aspects of film production, the star system and the relation between spectator and spectacle. (Lyon, offered alternate years)
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3.00 Credits
This course is a selective study of science fiction film, emphasizing American postwar science fiction and its complex and shifting relation to the cultural and historical context which produced it. Students consider individual films in visual and narrative detail as well as broader issues inherent in the genre of science fiction. Central to the study will be the ways in which the films visualize difference-sexual, racial, human/alien. Students also look at how science fiction films are shaped by the relation between technology and capitalism, not only on a thematic and narrative level but in the literal production of the images and effects that fascinate us. (Lyon, offered alternate years)
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3.00 Credits
The events of the late 1950s and '60s produced significant changes in film production and viewing around the world. Reacting against American imperialism and the economic and cultural control that the Hollywood film industry held over post war film markets, many countries, including France, Japan, Germany, and Brazil, redefined their national cinemas in the direction of a politics of cinema where both film making and film viewing were conceived as radical political tools. (Lyon, offered occasionally)
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3.00 Credits
This course focuses on the literary production of sexuality and subjectivity in America. It considers the works in light of Michel Foucault's theory of the deployment of sexuality and feminist discussions on the politics of sexuality, and looks at the relationships between sexuality, power, and resistance both within novels and within their respective cultural contexts. Crosslisted with women's studies and American studies. (offered occasionally)
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3.00 Credits
Using non-fiction and fiction films, this course examines the way different film and video practices reflect on and refract the film maker's relation to history and culture. Of particular interest is the role of the film or video diary, essay, memoir or autobiography in the representation of historical and cultural subjects, the intersections of history and memory, and the importance of subjectivity in non-fiction film. Students examine a range of film and video practices, from the early experimental or subjective documentaries produced by the Soviet and European avant garde of the 1920s, through the development and availability of new image technologies (digital cameras, the Internet) and the resulting transformation of global production and reception and emergence of "new documentary" modes. (Lyo n, offered occasionally
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3.00 Credits
This course examines the relationship between power and desire as it is represented in literature. While the course will introduce some more recent writers, it will use Nietzschean, Freudian, and Marxist theories to frame our analysis of some classic literary texts by Sade and Masoch. The course questions some of the most deeply entrenched binary oppositions in Western culture such as those between subject and object, activity and passivity, domination and submission. (Basu, offered annually)
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3.00 Credits
Fiction writers have long been enchanted with the writing of historians, at times imitating, at times stealing, and even at times attempting to pass their inventions off as legitimate history. Since the 1960s, historians have also considered the role of fiction in their work. To what extent is history fiction This course examines the evolution of the relationship between history writing and fiction, moments of cross-over such as falsified documents and hoaxes, and the way contemporary writers wrestle with the murky territory between the two. (Conroy-Goldman, Fall, alternate years)
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3.00 Credits
Central to this course is Milton's major poem, the epic Paradise Lost. Milton is studied in relation to the whole of the 17th century, so that the course introduces the student to the theological, political, and aesthetic issues of the period. Students discuss epic and form, ideas about freedom, nature, human and natural; and history, biblical and temporal. (Weiss, offered alternate years)
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