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Course Criteria
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1.00 Credits
This course will provide an overview of the history and practice of the British Broadcasting Corporation since it came into existence in 1927. The monopoly supplier of broadcasting service for over quarter of a century until the arrival of ITV and commercial television in the late 1950s and deliberately removed from the market place by an act of political will, the BBC proceeded to invent its own version of Public Service Broadcasting `to inform, educate and entertain?. And for three generations the BBC has effectively set the ideological agenda for all British terrestrial Radio and Television. Now the world's largest newsgathering organisation and with an annual income of in excess of #3 billion the BBC is embracing the greatest changes in broadcasting since it was granted its first Royal Charter. In the new digital multi-channel world can the BBC still hope to speak for the nation for which it was created? And as Britain strives to embrace multiculturalism how easily can an institution created to champion a single national voice adapt itself to cultural change? This course will take full advantage of the fact that the BBC is based in London. So that as well as class visits from selected guest speakers from the Corporation we will make a field trip to the BBC Television Studios in West London
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1.00 Credits
This course will explore the idea of the 'hero' in British cinema over the past half a century and examine how three different generations of British actors have attempted to create and act a 'hero' that reflects the values of their own particular age. Lectures and class discussions will focus in on how 'masculinity' is constructed in British cinema at a particular time and how that effects the representation of women. There is a world of difference between the Bond Girls in Goldfinger and Andie MacDowell's sexually independent Carrie in Four Weddings and a Funeral. And Alec the middle class doctor played by Trevor Howard in Brief Encounter is a far cry from Arthur Seaton, the working class rebel played by Albert Finney in Saturday Night and Sunday Morning. The idea of the 'hero', and indeed the 'heroine' cannot exist in a cultural vacuum so we shall also be exploring the wider background to the four films that form the core of this course. Those four films will be: Brief Encounter (1945), Saturday Night and Sunday Morning (1960), Goldfinger (1964 )and Four Weddings and a Funeral (1994). The course is offered as one of the London Summer Programme's special one-credit hour courses or it may be taken as one module in the three-credit course entitled 'An Introduction to Film, Television, and Theatre in Britain'.
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1.00 Credits
London has been described as the theatre capital of the world, home to a unique blend of privately and publicly funded theatre that midwifes new dramatic writing and nurtures a distinctively British style of acting. Visitors think, perhaps, of Lloyd Webber musicals or The Mousetrap, the world's longest running show, but be warned this course includes no outings musicals or The Mousetrap! We can attend only four productions, so the course will focus on four different kinds of London Theatre, plays in performance in the West End and in at least one publicly subsidized space, the National Theatre on the South Bank. Attendance at the performances is mandatory and the Backstage Tour of the National Theatre is also a course requirement. Students will be given a full list of the visits on the first day of the summer term, but until then all the possible dates should be kept free. It is essential that all students see the same performance of each play, and thereby take part in the same communal experience. (Note, the program will provide the tickets for all performances.) This course aims to explore the nature of the theatrical experience and to develop a properly critical appreciation of its constituent elements. This means that you will become far more aware of what you experience in the theatre and better able to judge how the different disciplines within theatre practice can contribute to that experience, namely, playwriting, acting, directing, proxemics (the use of space) and scenography (the use of set design, costume, lighting and sound). Good theatre demands complete concentration, an absolute involvement that is often for as long as three hours. But in order to arrive at a properly critical response to what is being staged you must also cultivate an intellectual detachment that enables you to talk and write about productions with an informed critical judgment. So you will also learn a basic critical vocabulary which you are encouraged to develop in a 'Theatre Journal', in which all students are required to record their personal opinions, first impressions, and, indeed second thoughts on each production that we go to see. The first of each week's classes with begin with a brief introductory lecture followed by a class presentation by students on particular aspects of play we shall be seeing next. We will work then in detail on the script itself and where appropriate view extracts from earlier performances of the play recorded on VHS or DVD. In the second class of the week students working together again will present their first reactions to what the class has seen and that will provide the starting point for a general seminar-style discussion of the production. REQUIRED READING All students must read Peter Brook's The Empty Space during their time in London. Classes will include a discussion of Brook's ideas and ideals. Copies of Brook's text will be available through the London Summer office.
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1.00 Credits
Broadly speaking the course Introduction to, together with the weekly class format for British Theatre: The London Scene is relevant to this course too. However, students are advised that the plays selected for AL 34109 will be new plays often by young playwrights. They are performed in small spaces few of which were ever intended to be professional theatres and they are produced on shoestring budgets. They can be political, socially angry, dangerously funny, and right out on a limb in terms of dramatic form and styles. This is the theatre that Londoners cherish but tourists only rarely discover. Theatre at the cutting edge. Since these plays often deal with contemporary English events and issues, some of the class discussion will focus on a consideration of the cultural and political contexts of each play. These plays may well be controversial in nature and in subject matter, and students who are sensitive and easily offended should not apply for this course. Students are also advised to think very carefully before signing up for both theatre courses because of the high level of time commitment involved. The weighting of marks towards the final grade will be based on Class Presentation 15%, Theatre Journal 20%, Class Contribution 25%, and Final Paper 40%. REQUIRED READING All students must read Peter Brook's The Empty Space during their time in London. Classes will include a discussion of Brook's ideas and ideals. Copies of Brook's text will be available through the London Summer office.
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1.00 Credits
Through several political revolutions and just as many intellectual and artistic ones, Paris remained such a leading center for art and artists that "Paris" seems almost synonymous with "art." Neo-classicism helped define the political revolution of 1789 and its aftermath. Romanticism played an emotional counterpoint. By mid-century a populist realism was seeking recognition in the face of staid and academic powers. That realism, pushed to a visual limit, yielded the technique, only briefly maligned, that became the Impressionism of today's blockbuster museum exhibitions. By the end of the century an amazing diversity existed which already embodies the freedoms that we associated with Twentieth Century modernism. This course will explore this Paris in art and, to a lesser but important degree, in architecture. To be prepared to absorb all this, readings will be assigned and two sessions will be held in April in South Bend. The major assessment will be a reflective paper due just before exams in London. Quality of participation will also count. Academic work: Material will be on reserve in London to prepare you for what you will see. Once in Paris, look, react, reflect. Back in London submit a 500 to 1000 word reflection creating an organized essay relating three to four items that particularly interested you, including at least one seen in personal exploration.
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3.00 Credits
Grammar, elementary composition, practice in conversation, and reading of modern prose.
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6.00 Credits
First semester of a two semester sequence: Introduction to the economic geography of France, primarily in the contemporary period. Prepares students for advanced diploma in French business from Parisian Chamber of Commerce and Industry.
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3.00 Credits
For students who have successfully completed M101 or its equivalent. The primary aim of this course is to enable the students: a) to communicate in the language and face daily life situations; b) to read in the language and write short accounts and letters.
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3.00 Credits
A survey of American political and cultural history from the Colonial period to the present. The emphasis will be on such topics as the development of democracy, the taming of the wilderness/frontier, the "melting pot," slavery and race relations, and the growth of the U.S. as an industrial and political world power.
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3.00 Credits
The phenomenon of interpersonal communication in human development, as well as its role in organizing and social groups. Student will develop personal skills in this area.
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