This page displays the schedule of Bryn Mawr courses in this department for this academic year. It also displays descriptions of courses offered by the department during the last four academic years.

For information about courses offered by other Bryn Mawr departments and programs or about courses offered by Haverford and Swarthmore Colleges, please consult the Course Guides page.

For information about the Academic Calendar, including the dates of first and second quarter courses, please visit the College's master calendar.

Students must choose a major subject and may choose a minor subject. Students may also select from one of seven concentrations, which are offered to enhance a student's work in the major or minor and to focus work on a specific area of interest.

Concentrations are an intentional cluster of courses already offered by various academic departments or through general programs. These courses may also be cross-listed in several academic departments. Therefore, when registering for a course that counts toward a concentration, a student should register for the course listed in her major or minor department. If the concentration course is not listed in her major or minor department, the student may enroll in any listing of that course.

Fall 2017

COURSE TITLE SCHEDULE/
UNITS
MEETING TYPE TIMES/DAYS LOCATION INSTR(S)
ENGL B205-001Introduction to FilmSemester / 1Lecture: 2:25 PM- 3:45 PM TTHCarpenter Library 25Bryant,S.
Film Screening: 7:10 PM-10:00 PM SUCollege Hall 224
HART B299-001History of Narrative Cinema, 1945 to the presentSemester / 1Lecture: 9:55 AM-11:15 AM TTHCollege Hall 224King,H.
Film Screening: 7:10 PM- 9:00 PM MCarpenter Library 21
ITAL B255-001Uomini d'onore in Sicilia: Italian Mafia in Literature and CinemaSemester / 1Lecture: 2:25 PM- 3:45 PM TTHCollege Hall 223Ricci,R.
PSYC B375-001Movies and Madness: Abnormal Psychology Through FilmsSemester / 1Lecture: 1:10 PM- 4:00 PM WBettws Y Coed 239Rescorla,L.
RUSS B258-001Soviet and Eastern European Cinema of the 1960sSemester / 1Lecture: 2:25 PM- 3:45 PM TTHDalton Hall 1Harte,T., Harte,T.
Film Screening: 7:00 PM- 9:00 PM MCarpenter Library 25
SPAN B318-001Adaptaciones literarias en el cine españolSemester / 1Lecture: 1:10 PM- 4:00 PM TDalton Hall 212ASong,R.

Spring 2018

COURSE TITLE SCHEDULE/
UNITS
MEETING TYPE TIMES/DAYS LOCATION INSTR(S)
EALC B240-001Topics in Chinese Film: The Films of Wong Kar-waiSemester / 1LEC: 12:55 PM- 2:15 PM TTHDalton Hall 10Kwa,S., Kwa,S.
Film Screening: 7:10 PM-10:00 PM MDalton Hall 10
ENGL B229-001Movies and Mass PoliticsSemester / 1Lecture: 9:55 AM-11:15 AM TTHCollege Hall 111Tratner,M., Tratner,M.
Film Screening: 7:10 PM-10:00 PM SUCarpenter Library 25
ENGL B324-001Topics in Shakespeare:: Global ShakespeareSemester / 1LEC: 10:10 AM-11:30 AM MWEnglish House IGordon,C.
ENGL B336-001Topics in Film: Cinematic VoiceSemester / 1LEC: 11:40 AM- 1:00 PM MWDalton Hall 1Bryant,S., Bryant,S.
Film Screening: 7:00 PM-10:00 PM SUCollege Hall 224
GNST B255-001Video ProductionSemester / 1Lecture: 1:10 PM- 4:00 PM MDalton Hall 212ERomberg,D., Romberg,D.
Film Screening: 7:10 PM-10:00 PM THCarpenter Library 21
GNST B302-001Topics in Video ProductionSemester / 1Lecture: 1:10 PM- 4:00 PM WDalton Hall 212ERomberg,D., Romberg,D.
Film Screening: 7:10 PM-10:00 PM TCarpenter Library 21
HART B110-001Critical Approaches to Visual Representation: Identification in the CinemaSemester / 1Lecture: 11:10 AM-12:00 PM MWFCarpenter Library 25King,H.
Film Screening: 7:10 PM- 9:00 PM SUCarpenter Library 25
HART B334-001Topics in Film Studies: Transitional Objects: Between Old and New MediaSemester / 1LEC: 2:10 PM- 4:00 PM MCarpenter Library 13King,H.
HART B420-001Praxis Fieldwork Seminar: Exploring Museum Applications of Augmented and VirSemester / 1LEC: 2:40 PM- 4:00 PM MCanaday Computer LabSpohrer,J.
ITAL B212-001Italy today: Migration StudiesSemester / 1Lecture: 2:40 PM- 4:00 PM MWBettws Y Coed 239Kubati,R.
ITAL B306-001Youth in 20th Century Italian Literature and CinemaSemester / 1Lecture: 2:10 PM- 4:00 PM TCarpenter Library 15Ricci,R.
Lecture: Date/Time TBA

Fall 2018

(Class schedules for this semester will be posted at a later date.)

2017-18 Catalog Data

ARTW B266 Screenwriting
Not offered 2017-18
An introduction to screenwriting. Issues basic to the art of storytelling in film will be addressed and analyzed: character, dramatic structure, theme, setting, image, sound. The course focuses on the film adaptation; readings include novels, screenplays, and short stories. Films adapted from the readings will be screened. In the course of the semester, students will be expected to outline and complete the first act of an adapted screenplay of their own.
Critical Interpretation (CI)
Counts toward Film Studies

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CSTS B274 Greek Tragedy in Global Cinema
Not offered 2017-18
This course explores how contemporary film, a creative medium appealing to the entire demographic spectrum like Greek drama, looks back to the ancient origins. Examining both films that are directly based on Greek plays and films that make use of classical material without being explicitly classical in plot or setting, we will discuss how Greek mythology is reconstructed and appropriated for modern audiences and how the classical past continues to be culturally significant. A variety of methodological approaches such as film and gender theory, psychoanalysis, and feminist theory will be applied in addition to more straightforward literary-historical interpretation.
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

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CSTS B274 Greek Tragedy in Global Cinema
Not offered 2017-18
This course explores how contemporary film, a creative medium appealing to the entire demographic spectrum like Greek drama, looks back to the ancient origins. Examining both films that are directly based on Greek plays and films that make use of classical material without being explicitly classical in plot or setting, we will discuss how Greek mythology is reconstructed and appropriated for modern audiences and how the classical past continues to be culturally significant. A variety of methodological approaches such as film and gender theory, psychoanalysis, and feminist theory will be applied in addition to more straightforward literary-historical interpretation.
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

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HART B110 Critical Approaches to Visual Representation: Identification in the Cinema
Spring 2018
An introduction to the analysis of film through particular attention to the role of the spectator. Why do moving images compel our fascination? How exactly do film spectators relate to the people, objects, and places that appear on the screen? Wherein lies the power of images to move, attract, repel, persuade, or transform its viewers? In this course, students will be introduced to film theory through the rich and complex topic of identification. We will explore how points of view are framed in cinema, and how those viewing positions differ from those of still photography, advertising, video games, and other forms of media. Students will be encouraged to consider the role the cinematic medium plays in influencing our experience of a film: how it is not simply a film's content, but the very form of representation that creates interactions between the spectator and the images on the screen. Film screenings include Psycho, Being John Malkovich, and others. Course is geared to freshman and those with no prior film instruction. Fulfills History of Art major 100-level course requirement, Film Studies minor Introductory course or Theory course requirement.
Critical Interpretation (CI)
Inquiry into the Past (IP)
Counts toward Counts toward Film Studies

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ITAL B212 Italy today: Migration Studies
Spring 2018
There are numerous economic, political, and cultural elements that encumber on the existential condition of the migrant. In political and ideological parlance the term migrant has come to mean poor, needy, precarious, unhappy, primitive, and even criminal. In Italy, furthermore, the colonial past has been foreclosed, leading to a strengthening of stereotypes that continue to populate the discourse on migration. In this course we will examine issues related to migration, such as colonialism. racism, gender relations, discrimination, identity and difference and how they re-present new forms of multicultural and contaminated life and their impact on geography, security, identity, and belonging. . Is multiculturalism the answer to all the problems? Does it resolve the problem of closed communities so eloquently discussed by Bauman? With the help of Italian cinema of migration and selected critical articles we will discuss different positions and follow the migrants as they cross desert and sea to reach the European metropolis. From Libya to Lampedusa, from the Balkans to Puglia, and from there to the Roman peripheries, to the center of the city.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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ITAL B214 The Myth of Venice (1800-2000)
Not offered 2017-18
In English. The Republic of Venice existed for over a millennium. This course begins in the year 1797 at the end of the Republic and the emerging of an extensive body of literature centered on Venice and its mythical facets. Readings will include the Romantic views of Venice (excerpts from Lord Byron, Fredrick Schiller, Wolfang von Goethe, Ugo Foscolo, Alessandro Manzoni) and the 20th century reshaping of the literary myth (readings from Thomas Mann, Filippo Tommaso Marinetti, Gabriele D'Annunzio, Henry James, and others). A journey into this fascinating tradition will shed light on how the literary and visual representation of Venice, rather than focusing on a nostalgic evocation of the death of the Republic, became a territory of exploration for literary modernity. The course is offered in English; all texts are provided in translation. One additional hour for students who want Italian credit. Suggested Preparation: Counts toward Comp Lit. Counts toward Film Studies.
Cross-Cultural Analysis (CC)
Counts toward Counts toward Film Studies

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ENGL B229 Movies and Mass Politics
Spring 2018
Movies and mass politics emerged together, altering entertainment and government in strangely similar ways. Fascism and Communism claimed an inherent relation to the masses and hence to movies; Hollywood rejected such claims. We will examine films that allude to Communism and Fascism, seeking to understand how they join in political debates and comment upon the mass experience of movie going.
Critical Interpretation (CI)
Counts toward Counts toward Film Studies
Counts toward Counts toward Visual Studies

Back to top

RUSS B238 Topics: The History of Cinema 1895 to 1945
Section 001 (Spring 2017): Silent Film: From U.S. to Soviet Russia& Beyond
Not offered 2017-18
This is a topics course. Course content varies.
Inquiry into the Past (IP)
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

Back to top

EALC B240 Topics in Chinese Film
Section 001 (Spring 2018): The Films of Wong Kar-wai
Spring 2018
This is a topics course. Course content varies.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies
Counts toward Counts toward Visual Studies

Back to top

CSTS B274 Greek Tragedy in Global Cinema
Not offered 2017-18
This course explores how contemporary film, a creative medium appealing to the entire demographic spectrum like Greek drama, looks back to the ancient origins. Examining both films that are directly based on Greek plays and films that make use of classical material without being explicitly classical in plot or setting, we will discuss how Greek mythology is reconstructed and appropriated for modern audiences and how the classical past continues to be culturally significant. A variety of methodological approaches such as film and gender theory, psychoanalysis, and feminist theory will be applied in addition to more straightforward literary-historical interpretation.
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

Back to top

EALC B281 Food in Translation: Theory and Practice
Not offered 2017-18
This semester we will explore the connections between what we eat and how we define ourselves in the context of global culture. We will proceed from the assumption that food is an object of culture, and that our contemplation of its transformations and translations in production, preparation, consumption, and distribution will inform our notions of personal and group identity. This course takes Chinese food as a case study, and examines the way that Chinese food moves from its host country to diasporic communities all over the world, using theories of translation as our theoretical and empirical foundation. From analyzing menu and ingredient translations to producing a short film based on interviews, we will consider the relationship between food and communication in a multilingual and multicultural world. Readings include theoretical texts on translation (Apter), recipe books and menus, Chinese and Chinese-American literature (Classic of Poetry, Mo Yan, Hong Kingston). Films include Ian Cheney's "Searching for General Tso," Wayne Wang's "Soul of a Banquet" and "Eat a Bowl of Tea," Ang Li's "Eat Drink Man Woman," and Wong Karwai's "In the Mood for Love."
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

Back to top

HART B306 Film Theory
Not offered 2017-18
An introduction to major developments in film theory and criticism. Topics covered include: the specificity of film form; cinematic realism; the cinematic "author"; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text. Prerequisite: A course in Film Studies (HART B110, HART B299, ENGL B205, or the equivalent from another college by permission of instructor).
Counts toward Counts toward Film Studies

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CSTS B274 Greek Tragedy in Global Cinema
Not offered 2017-18
This course explores how contemporary film, a creative medium appealing to the entire demographic spectrum like Greek drama, looks back to the ancient origins. Examining both films that are directly based on Greek plays and films that make use of classical material without being explicitly classical in plot or setting, we will discuss how Greek mythology is reconstructed and appropriated for modern audiences and how the classical past continues to be culturally significant. A variety of methodological approaches such as film and gender theory, psychoanalysis, and feminist theory will be applied in addition to more straightforward literary-historical interpretation.
Critical Interpretation (CI)
Counts toward Film Studies

Back to top

EALC B212 Topics: Introduction to Chinese Literature
Not offered 2017-18
This is a topics course. Topics may vary.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Film Studies

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EALC B240 Topics in Chinese Film
Section 001 (Spring 2018): The Films of Wong Kar-wai
Spring 2018
This is a topics course. Course content varies.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Gender and Sexuality Studies
Counts toward Film Studies
Counts toward Visual Studies

Back to top

EALC B281 Food in Translation: Theory and Practice
Not offered 2017-18
This semester we will explore the connections between what we eat and how we define ourselves in the context of global culture. We will proceed from the assumption that food is an object of culture, and that our contemplation of its transformations and translations in production, preparation, consumption, and distribution will inform our notions of personal and group identity. This course takes Chinese food as a case study, and examines the way that Chinese food moves from its host country to diasporic communities all over the world, using theories of translation as our theoretical and empirical foundation. From analyzing menu and ingredient translations to producing a short film based on interviews, we will consider the relationship between food and communication in a multilingual and multicultural world. Readings include theoretical texts on translation (Apter), recipe books and menus, Chinese and Chinese-American literature (Classic of Poetry, Mo Yan, Hong Kingston). Films include Ian Cheney's "Searching for General Tso," Wayne Wang's "Soul of a Banquet" and "Eat a Bowl of Tea," Ang Li's "Eat Drink Man Woman," and Wong Karwai's "In the Mood for Love."
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Film Studies

Back to top

EALC B212 Topics: Introduction to Chinese Literature
Not offered 2017-18
This is a topics course. Topics may vary.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

Back to top

EALC B240 Topics in Chinese Film
Section 001 (Spring 2018): The Films of Wong Kar-wai
Spring 2018
This is a topics course. Course content varies.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies
Counts toward Counts toward Visual Studies

Back to top

EALC B281 Food in Translation: Theory and Practice
Not offered 2017-18
This semester we will explore the connections between what we eat and how we define ourselves in the context of global culture. We will proceed from the assumption that food is an object of culture, and that our contemplation of its transformations and translations in production, preparation, consumption, and distribution will inform our notions of personal and group identity. This course takes Chinese food as a case study, and examines the way that Chinese food moves from its host country to diasporic communities all over the world, using theories of translation as our theoretical and empirical foundation. From analyzing menu and ingredient translations to producing a short film based on interviews, we will consider the relationship between food and communication in a multilingual and multicultural world. Readings include theoretical texts on translation (Apter), recipe books and menus, Chinese and Chinese-American literature (Classic of Poetry, Mo Yan, Hong Kingston). Films include Ian Cheney's "Searching for General Tso," Wayne Wang's "Soul of a Banquet" and "Eat a Bowl of Tea," Ang Li's "Eat Drink Man Woman," and Wong Karwai's "In the Mood for Love."
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

Back to top

ENGL B205 Introduction to Film
Fall 2017
This course is intended to provide students with the tools of critical film analysis. Through readings of images and sounds, sections of films and entire narratives, students will cultivate the habits of critical viewing and establish a foundation for focused work in film studies. The course introduces formal and technical units of cinematic meaning and categories of genre and history that add up to the experiences and meanings we call cinema. Although much of the course material will focus on the Hollywood style of film, examples will be drawn from the history of cinema. Attendance at weekly screenings is mandatory.
Critical Interpretation (CI)
Counts toward Film Studies

Back to top

ENGL B229 Movies and Mass Politics
Spring 2018
Movies and mass politics emerged together, altering entertainment and government in strangely similar ways. Fascism and Communism claimed an inherent relation to the masses and hence to movies; Hollywood rejected such claims. We will examine films that allude to Communism and Fascism, seeking to understand how they join in political debates and comment upon the mass experience of movie going.
Critical Interpretation (CI)
Counts toward Film Studies
Counts toward Visual Studies

Back to top

RUSS B238 Topics: The History of Cinema 1895 to 1945
Section 001 (Spring 2017): Silent Film: From U.S. to Soviet Russia& Beyond
Not offered 2017-18
This is a topics course. Course content varies.
Inquiry into the Past (IP)
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

Back to top

ARTW B266 Screenwriting
Not offered 2017-18
An introduction to screenwriting. Issues basic to the art of storytelling in film will be addressed and analyzed: character, dramatic structure, theme, setting, image, sound. The course focuses on the film adaptation; readings include novels, screenplays, and short stories. Films adapted from the readings will be screened. In the course of the semester, students will be expected to outline and complete the first act of an adapted screenplay of their own.
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

Back to top

HART B299 History of Narrative Cinema, 1945 to the present
Fall 2017
This course surveys the history of narrative film from 1945 through contemporary cinema. We will analyze a chronological series of styles and national cinemas, including Classical Hollywood, Italian Neorealism, the French New Wave, and other post-war movements and genres. Viewings of canonical films will be supplemented by more recent examples of global cinema. While historical in approach, this course emphasizes the theory and criticism of the sound film, and we will consider various methodological approaches to the aesthetic, socio-political, and psychological dimensions of cinema. Readings will provide historical context, and will introduce students to key concepts in film studies such as realism, formalism, spectatorship, the auteur theory, and genre studies. Fulfills the history requirement or the introductory course requirement for the Film Studies minor.
Critical Interpretation (CI)
Inquiry into the Past (IP)
Counts toward Counts toward Film Studies

Back to top

HART B306 Film Theory
Not offered 2017-18
An introduction to major developments in film theory and criticism. Topics covered include: the specificity of film form; cinematic realism; the cinematic "author"; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text. Prerequisite: A course in Film Studies (HART B110, HART B299, ENGL B205, or the equivalent from another college by permission of instructor).
Counts toward Counts toward Film Studies

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ENGL B324 Topics in Shakespeare:
Section 001 (Spring 2017): Global Shakespeare
Section 001 (Spring 2018): Global Shakespeare
Spring 2018
Films and play texts vary from year to year. The course assumes significant prior experience of Shakespearean drama and/or Renaissance drama.
Current topic description: We will read Shakespearean drama alongside the global performance archives that update and remix Shakespeare for a world shaped by the War on Terror, globalization, occupation, and revolution. By pairing original texts and their adaptations, this course considers pressing issues in postcolonial theory, including cosmopolitanism; appropriation; colonial education and canon formation; nationalism; and the global city.

Counts toward Film Studies

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HART B334 Topics in Film Studies
Section 001 (Spring 2018): Transitional Objects: Between Old and New Media
Section 001 (Fall 2016): Visual Culture and Technology
Spring 2018
This is a topics course. Course content varies.
Current topic description: D. N. Rodowick argued that the digital arts "are the most radical instance yet of an old Cartesian dream: the best representations are the most immaterial ones because they seen to free the mind from the body and the world of substance." In this seminar, we will explore digital images in relation to cinema, photography, and other media. We will examine the fate of materiality, the body, and duration in 21st c. media, and consider whether the digital marks a significant break from the analog.

Counts toward Counts toward Film Studies

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ENGL B336 Topics in Film
Section 001 (Fall 2016): Cinematic Voice
Section 001 (Spring 2018): Cinematic Voice
Spring 2018
This is a topics course. Course content varies.
Current topic description: We'll consider how voice has changed film & how film has changed the voice, studying cinema from 1920s to now & theories about voice.

Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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ENGL B355 Performance Studies
Not offered 2017-18
Introduces students to the field of performance studies, a multidisciplinary species of cultural studies which theorizes human actions as performances that both construct and resist cultural norms of race, gender, and sexuality. The course will explore "performativity" in everyday life as well as in the performing arts, and will include multiple viewings of dance and theater both on- and off-campus. In addition, we will consider the performative aspects of film and video productions.
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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ENGL B367 Asian American Film Video and New Media
Not offered 2017-18
The course explores the role of pleasure in the production, reception, and performance of Asian American identities in film, video, and the internet, taking as its focus the sexual representation of Asian Americans in works produced by Asian American artists from 1915 to present. In several units of the course, we will study graphic sexual representations, including pornographic images and sex acts some may find objectionable. Students should be prepared to engage analytically with all class material. To maintain an atmosphere of mutual respect and solidarity among the participants in the class, no auditors will be allowed.
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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ENGL B375 Sex on Screens
Not offered 2017-18
This course will provide a historical and theoretical overview of the ways moving image sex acts have been represented on screen, from early cinema's silent film loops to today's celebrity sex tapes. We will examine the ideological operations of sex in the cinema and aim to comprehend the multifarious ways viewers, filmmakers, critics, and scholars respond to dominant conceptions of sex-sexuality through alternative cinematic production and critical scholarship. Units include: stag movies, the Production Code and ratings system, European art cinema, sex ed, underground and the avant-garde, cult / sexploitation / blaxploitation, sexual revolution, hard core, women's cinema, home video, queer cinema, HIV/AIDS, the digital revolution, feminist porn, and the Internet. Prerequisites: HART / COML B110: Identification in the Cinema; or ENGL / HART 205: Introduction to Film; or ENGL B299 History of Narrative Cinema, 1945 to the Present.
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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ITAL B229 The Politics of Food in Italian Literature, Culture, and Cinema
Not offered 2017-18
In English. A profile of Italian literature/culture/cinema obtained through an analysis of gastronomic documents, films, literary texts, and magazines. We will also include a discussion of the Slow Food Revolution, a movement initiated in Italy in 1980 and now with a world-wide following, and its social, economic, ecological, aesthetic, and cultural impact to counteract fast food and to promote local food traditions. Course taught in English. One additional hour for students who want Italian credit.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

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EALC B240 Topics in Chinese Film
Section 001 (Spring 2018): The Films of Wong Kar-wai
Spring 2018
This is a topics course. Course content varies.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies
Counts toward Counts toward Visual Studies

Back to top

GNST B255 Video Production
Spring 2018
This course will explore aesthetic strategies utilized by low-budget film and video makers as each student works throughout the semester to complete a 7-15 minute film or video project. Course requirements include weekly screenings, reading assignments, and class screenings of rushes and roughcuts of student projects. Prerequisites: Some prior film course experience necessary, instructor discretion.
Course does not meet an Approach
Counts toward Counts toward Film Studies

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RUSS B258 Soviet and Eastern European Cinema of the 1960s
Fall 2017
This course examines 1960s Soviet and Eastern European "New Wave" cinema, which won worldwide acclaim through its treatment of war, gender, and aesthetics. Films from Czechoslovakia, Hungary, Poland, Russia, and Yugoslavia will be viewed and analyzed, accompanied by readings on film history and theory. All films shown with subtitles; no knowledge of Russian or previous study of film required.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

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HIST B284 Movies and America
Section 001 (Spring 2017): Queer Cinema
Not offered 2017-18
Movies are one of the most important means by which Americans come to know - or think they know--their own history. This class examines the complex cultural relationship between film and American historical self fashioning.
Critical Interpretation (CI)
Inquiry into the Past (IP)
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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HART B307 Advanced Video Production: Film on Photography
Not offered 2017-18
In this course we will consider how film is both on photography, i.e., both attached to it, necessarily so, through shared technical bases and orders of historical precedence, and how film is also often about photography, sometimes centrally. Or to put this differently, moving pictures are but succession of still ones, which, allied with our perceptual apparatus, are taken to show movement; and moving pictures often feature photographs--which just as often allegorize the relation of film and photography. Photographs in films, whether narrative, documentary, or experimental, function in numerous ways: as forensic evidence, as stimulants to revery, as mementos, as items drawn from an archive, as public icons, as stunning beauties, as uncannily still images in an otherwise animate world, etc. We will study these films to learn about such functions, discover new ones, and theorize the forms and ends of technical media. We will watch and analyze films together, read canonical essays in the field, and we will also produce short films; we will treat production as research. The latter component will strengthen students' video production techniques, emphasizing the relationship between still and moving pictures in both the making and consumption of images. Required Preparation: a video production course.
Counts toward Counts toward Film Studies

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ENGL B336 Topics in Film
Section 001 (Fall 2016): Cinematic Voice
Section 001 (Spring 2018): Cinematic Voice
Spring 2018
This is a topics course. Course content varies.
Current topic description: We'll consider how voice has changed film & how film has changed the voice, studying cinema from 1920s to now & theories about voice.

Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

Back to top

GEOL B125 Focus: Geology in Film
Not offered 2017-18
This is a half semester Focus course. Geologic processes make for great film storylines, but filmmakers take great liberty with how they depict scientific "facts" and scientists. We will explore how and why filmmakers choose to deviate from science reality. We will study and view one film per week and discuss its issues from a geologist's perspective.
Course does not meet an Approach
Counts toward Film Studies

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GNST B255 Video Production
Spring 2018
This course will explore aesthetic strategies utilized by low-budget film and video makers as each student works throughout the semester to complete a 7-15 minute film or video project. Course requirements include weekly screenings, reading assignments, and class screenings of rushes and roughcuts of student projects. Prerequisites: Some prior film course experience necessary, instructor discretion.
Course does not meet an Approach
Counts toward Film Studies

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GNST B302 Topics in Video Production
Spring 2018
This is a topics course. Course content varies.
Current topic description: From its very inception in the nineteenth century, film has straddled between the magic of realism and the suspension of reality in fiction by cinematic means such as special lighting, singular perspectives, and temporal and spatial manipulations. In this course, we will explore the paradox of a medium that is expected to simultaneously index and document reality, and poetically suggest it in fiction. By blurring these too often polarized genres, this course will challenge conventional genres and test the potential creativity in playing with them. Screenings and readings of historical, influential works will illustrate the merging of documentaries and fiction films, which will be explored also in combination with hands-on production-based cinematic experiments. Students will work in groups to produce several small experimental scenarios that will borrow from both documentary and fiction methods, such as working with social actors, archival documentation, performance, dramatization, and stylization. In addition, each student will produce a final project that will be a culmination of the methods used in the smaller experiments. Students will also be required to write short regular responses to the texts and films shown.

Counts toward Film Studies

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CSTS B274 Greek Tragedy in Global Cinema
Not offered 2017-18
This course explores how contemporary film, a creative medium appealing to the entire demographic spectrum like Greek drama, looks back to the ancient origins. Examining both films that are directly based on Greek plays and films that make use of classical material without being explicitly classical in plot or setting, we will discuss how Greek mythology is reconstructed and appropriated for modern audiences and how the classical past continues to be culturally significant. A variety of methodological approaches such as film and gender theory, psychoanalysis, and feminist theory will be applied in addition to more straightforward literary-historical interpretation.
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

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HART B110 Critical Approaches to Visual Representation: Identification in the Cinema
Spring 2018
An introduction to the analysis of film through particular attention to the role of the spectator. Why do moving images compel our fascination? How exactly do film spectators relate to the people, objects, and places that appear on the screen? Wherein lies the power of images to move, attract, repel, persuade, or transform its viewers? In this course, students will be introduced to film theory through the rich and complex topic of identification. We will explore how points of view are framed in cinema, and how those viewing positions differ from those of still photography, advertising, video games, and other forms of media. Students will be encouraged to consider the role the cinematic medium plays in influencing our experience of a film: how it is not simply a film's content, but the very form of representation that creates interactions between the spectator and the images on the screen. Film screenings include Psycho, Being John Malkovich, and others. Course is geared to freshman and those with no prior film instruction. Fulfills History of Art major 100-level course requirement, Film Studies minor Introductory course or Theory course requirement.
Critical Interpretation (CI)
Inquiry into the Past (IP)
Counts toward Film Studies

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ENGL B205 Introduction to Film
Fall 2017
This course is intended to provide students with the tools of critical film analysis. Through readings of images and sounds, sections of films and entire narratives, students will cultivate the habits of critical viewing and establish a foundation for focused work in film studies. The course introduces formal and technical units of cinematic meaning and categories of genre and history that add up to the experiences and meanings we call cinema. Although much of the course material will focus on the Hollywood style of film, examples will be drawn from the history of cinema. Attendance at weekly screenings is mandatory.
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

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EALC B212 Topics: Introduction to Chinese Literature
Not offered 2017-18
This is a topics course. Topics may vary.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

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RUSS B238 Topics: The History of Cinema 1895 to 1945
Section 001 (Spring 2017): Silent Film: From U.S. to Soviet Russia& Beyond
Not offered 2017-18
This is a topics course. Course content varies.
Inquiry into the Past (IP)
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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HART B299 History of Narrative Cinema, 1945 to the present
Fall 2017
This course surveys the history of narrative film from 1945 through contemporary cinema. We will analyze a chronological series of styles and national cinemas, including Classical Hollywood, Italian Neorealism, the French New Wave, and other post-war movements and genres. Viewings of canonical films will be supplemented by more recent examples of global cinema. While historical in approach, this course emphasizes the theory and criticism of the sound film, and we will consider various methodological approaches to the aesthetic, socio-political, and psychological dimensions of cinema. Readings will provide historical context, and will introduce students to key concepts in film studies such as realism, formalism, spectatorship, the auteur theory, and genre studies. Fulfills the history requirement or the introductory course requirement for the Film Studies minor.
Critical Interpretation (CI)
Inquiry into the Past (IP)
Counts toward Film Studies

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HART B306 Film Theory
Not offered 2017-18
An introduction to major developments in film theory and criticism. Topics covered include: the specificity of film form; cinematic realism; the cinematic "author"; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text. Prerequisite: A course in Film Studies (HART B110, HART B299, ENGL B205, or the equivalent from another college by permission of instructor).
Counts toward Film Studies

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HART B307 Advanced Video Production: Film on Photography
Not offered 2017-18
In this course we will consider how film is both on photography, i.e., both attached to it, necessarily so, through shared technical bases and orders of historical precedence, and how film is also often about photography, sometimes centrally. Or to put this differently, moving pictures are but succession of still ones, which, allied with our perceptual apparatus, are taken to show movement; and moving pictures often feature photographs--which just as often allegorize the relation of film and photography. Photographs in films, whether narrative, documentary, or experimental, function in numerous ways: as forensic evidence, as stimulants to revery, as mementos, as items drawn from an archive, as public icons, as stunning beauties, as uncannily still images in an otherwise animate world, etc. We will study these films to learn about such functions, discover new ones, and theorize the forms and ends of technical media. We will watch and analyze films together, read canonical essays in the field, and we will also produce short films; we will treat production as research. The latter component will strengthen students' video production techniques, emphasizing the relationship between still and moving pictures in both the making and consumption of images. Required Preparation: a video production course.
Counts toward Film Studies

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HART B334 Topics in Film Studies
Section 001 (Spring 2018): Transitional Objects: Between Old and New Media
Section 001 (Fall 2016): Visual Culture and Technology
Spring 2018
This is a topics course. Course content varies.
Current topic description: D. N. Rodowick argued that the digital arts "are the most radical instance yet of an old Cartesian dream: the best representations are the most immaterial ones because they seen to free the mind from the body and the world of substance." In this seminar, we will explore digital images in relation to cinema, photography, and other media. We will examine the fate of materiality, the body, and duration in 21st c. media, and consider whether the digital marks a significant break from the analog.

Counts toward Film Studies

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ENGL B336 Topics in Film
Section 001 (Fall 2016): Cinematic Voice
Section 001 (Spring 2018): Cinematic Voice
Spring 2018
This is a topics course. Course content varies.
Current topic description: We'll consider how voice has changed film & how film has changed the voice, studying cinema from 1920s to now & theories about voice.

Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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ENGL B367 Asian American Film Video and New Media
Not offered 2017-18
The course explores the role of pleasure in the production, reception, and performance of Asian American identities in film, video, and the internet, taking as its focus the sexual representation of Asian Americans in works produced by Asian American artists from 1915 to present. In several units of the course, we will study graphic sexual representations, including pornographic images and sex acts some may find objectionable. Students should be prepared to engage analytically with all class material. To maintain an atmosphere of mutual respect and solidarity among the participants in the class, no auditors will be allowed.
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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HART B420 Praxis Fieldwork Seminar
Section 001 (Spring 2018): Exploring Museum Applications of Augmented and Vir
In this Praxis course, students will learn to critically evaluate augmented and virtual reality (AR/VR) applications by developing their own AR/VR museum installation. The classroom component will include readings, guest lectures, and discussion topics in public history, conceptual art, and museum studies, and critical exploration of AR/VR and location-based technologies currently used in these fields. The majority of this course consists of a fieldwork component, in which students will develop an augmented- or virtual-reality installation of their own. Students will learn project management, design thinking, Unity development, and other digital competencies needed to successfully develop their museum installation. Prior experience with programming and/or Unity is advantageous but not required. If you are unsure about whether this course would work for you, please contact us or attend an info session. Pre-registered students should attend an info session on November 27 at 4PM in Canaday 315 to complete their Praxis learning plan.
Counts toward Film Studies
Counts toward Praxis Program

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HIST B284 Movies and America
Section 001 (Spring 2017): Queer Cinema
Not offered 2017-18
Movies are one of the most important means by which Americans come to know - or think they know--their own history. This class examines the complex cultural relationship between film and American historical self fashioning.
Critical Interpretation (CI)
Inquiry into the Past (IP)
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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PSYC B375 Movies and Madness: Abnormal Psychology Through Films
Fall 2017
This writing-intensive seminar (maximum enrollment = 16 students) deals with critical analysis of how various forms of psychopathology are depicted in films. The primary focus of the seminar will be evaluating the degree of correspondence between the cinematic presentation and current research knowledge about the disorder, taking into account the historical period in which the film was made. For example, we will discuss how accurately the symptoms of the disorder are presented and how representative the protagonist is of people who typically manifest this disorder based on current research. We will also address the theory of etiology of the disorder depicted in the film, including discussion of the relevant intellectual history in the period when the film was made and the prevailing accounts of psychopathology in that period. Another focus will be how the film portrays the course of the disorder and how it depicts treatment for the disorder. This cinematic presentation will be evaluated with respect to current research on treatment for the disorder as well as the historical context of prevailing treatment for the disorder at the time the film was made. Prerequisite: PSYC B209.
Counts toward Counts toward Child and Family Studies
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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ITAL B212 Italy today: Migration Studies
Spring 2018
There are numerous economic, political, and cultural elements that encumber on the existential condition of the migrant. In political and ideological parlance the term migrant has come to mean poor, needy, precarious, unhappy, primitive, and even criminal. In Italy, furthermore, the colonial past has been foreclosed, leading to a strengthening of stereotypes that continue to populate the discourse on migration. In this course we will examine issues related to migration, such as colonialism. racism, gender relations, discrimination, identity and difference and how they re-present new forms of multicultural and contaminated life and their impact on geography, security, identity, and belonging. . Is multiculturalism the answer to all the problems? Does it resolve the problem of closed communities so eloquently discussed by Bauman? With the help of Italian cinema of migration and selected critical articles we will discuss different positions and follow the migrants as they cross desert and sea to reach the European metropolis. From Libya to Lampedusa, from the Balkans to Puglia, and from there to the Roman peripheries, to the center of the city.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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ITAL B212 Italy today: Migration Studies
Spring 2018
There are numerous economic, political, and cultural elements that encumber on the existential condition of the migrant. In political and ideological parlance the term migrant has come to mean poor, needy, precarious, unhappy, primitive, and even criminal. In Italy, furthermore, the colonial past has been foreclosed, leading to a strengthening of stereotypes that continue to populate the discourse on migration. In this course we will examine issues related to migration, such as colonialism. racism, gender relations, discrimination, identity and difference and how they re-present new forms of multicultural and contaminated life and their impact on geography, security, identity, and belonging. . Is multiculturalism the answer to all the problems? Does it resolve the problem of closed communities so eloquently discussed by Bauman? With the help of Italian cinema of migration and selected critical articles we will discuss different positions and follow the migrants as they cross desert and sea to reach the European metropolis. From Libya to Lampedusa, from the Balkans to Puglia, and from there to the Roman peripheries, to the center of the city.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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ITAL B214 The Myth of Venice (1800-2000)
Not offered 2017-18
In English. The Republic of Venice existed for over a millennium. This course begins in the year 1797 at the end of the Republic and the emerging of an extensive body of literature centered on Venice and its mythical facets. Readings will include the Romantic views of Venice (excerpts from Lord Byron, Fredrick Schiller, Wolfang von Goethe, Ugo Foscolo, Alessandro Manzoni) and the 20th century reshaping of the literary myth (readings from Thomas Mann, Filippo Tommaso Marinetti, Gabriele D'Annunzio, Henry James, and others). A journey into this fascinating tradition will shed light on how the literary and visual representation of Venice, rather than focusing on a nostalgic evocation of the death of the Republic, became a territory of exploration for literary modernity. The course is offered in English; all texts are provided in translation. One additional hour for students who want Italian credit. Suggested Preparation: Counts toward Comp Lit. Counts toward Film Studies.
Cross-Cultural Analysis (CC)
Counts toward Film Studies

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ITAL B229 The Politics of Food in Italian Literature, Culture, and Cinema
Not offered 2017-18
In English. A profile of Italian literature/culture/cinema obtained through an analysis of gastronomic documents, films, literary texts, and magazines. We will also include a discussion of the Slow Food Revolution, a movement initiated in Italy in 1980 and now with a world-wide following, and its social, economic, ecological, aesthetic, and cultural impact to counteract fast food and to promote local food traditions. Course taught in English. One additional hour for students who want Italian credit.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Film Studies

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ITAL B255 Uomini d'onore in Sicilia: Italian Mafia in Literature and Cinema
Fall 2017
This course aims to explore representations of Mafia figures in Italian literature and cinema, starting from the 'classical' example of Sicily. From Sicily, the "octopus" (piovra), as the Mafia is called in Italy, has spread throughout Italy, and has pervaded almost every facet of Italian life, including cultural life. The course will introduce students to both Italian Studies from an interdisciplinary prospective and also to narrative, using fiction and non-fiction texts written by 19th, 20th, and 21st century writers. Novels, films, testimonies and TV series will offer different representations of the Mafia: its ethics, its relation with politics, religion and business, its ideas of friendship, family, masculinity and femininity. Internships in Italy will be available connected with this course. Course is taught in Italian. Prerequisite: ITAL B102 or permission of the instructor.
Cross-Cultural Analysis (CC)
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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ITAL B306 Youth in 20th Century Italian Literature and Cinema
Spring 2018
This interdisciplinary course focuses on literary texts and visual material dealing with youth and youth culture in post-fascist Italy. How is youth described in Italian culture after WWII? What does youth represent in the Italian imagination of 20th century Italy? Which language is used by the youth? While the focus in analyzing the challenges faced by youth is primarily on literature and film studies, throughout the semester the course will also touch upon sociological, cultural, and anthropological perspectives concerning the role of the family, peer relationships, prostitution, drugs, criminality and violence, diversity, gender identity, and sexuality. Students will be required to attend film screenings or view films on their own devices. Prerequisite: One literature course at the 200 level. or permission by the instructor.
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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CSTS B274 Greek Tragedy in Global Cinema
Not offered 2017-18
This course explores how contemporary film, a creative medium appealing to the entire demographic spectrum like Greek drama, looks back to the ancient origins. Examining both films that are directly based on Greek plays and films that make use of classical material without being explicitly classical in plot or setting, we will discuss how Greek mythology is reconstructed and appropriated for modern audiences and how the classical past continues to be culturally significant. A variety of methodological approaches such as film and gender theory, psychoanalysis, and feminist theory will be applied in addition to more straightforward literary-historical interpretation.
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

Back to top

PSYC B375 Movies and Madness: Abnormal Psychology Through Films
Fall 2017
This writing-intensive seminar (maximum enrollment = 16 students) deals with critical analysis of how various forms of psychopathology are depicted in films. The primary focus of the seminar will be evaluating the degree of correspondence between the cinematic presentation and current research knowledge about the disorder, taking into account the historical period in which the film was made. For example, we will discuss how accurately the symptoms of the disorder are presented and how representative the protagonist is of people who typically manifest this disorder based on current research. We will also address the theory of etiology of the disorder depicted in the film, including discussion of the relevant intellectual history in the period when the film was made and the prevailing accounts of psychopathology in that period. Another focus will be how the film portrays the course of the disorder and how it depicts treatment for the disorder. This cinematic presentation will be evaluated with respect to current research on treatment for the disorder as well as the historical context of prevailing treatment for the disorder at the time the film was made. Prerequisite: PSYC B209.
Counts toward Child and Family Studies
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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RUSS B217 The Cinema of Andrei Tarkovsky
Not offered 2017-18
This course will probe the cinematic oeuvre of the great Soviet filmmaker Andrei Tarkovsky, who produced some of the most compelling, significant film work of the 20th century. Looking at not only Tarkovsky's films but also those films that influenced his work, we will explore the aesthetics, philosophy, and ideological pressure underlying Tarkovsky's unique brand of cinema.
Critical Interpretation (CI)
Counts toward Film Studies

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RUSS B238 Topics: The History of Cinema 1895 to 1945
Section 001 (Spring 2017): Silent Film: From U.S. to Soviet Russia& Beyond
Not offered 2017-18
This is a topics course. Course content varies.
Inquiry into the Past (IP)
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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RUSS B258 Soviet and Eastern European Cinema of the 1960s
Fall 2017
This course examines 1960s Soviet and Eastern European "New Wave" cinema, which won worldwide acclaim through its treatment of war, gender, and aesthetics. Films from Czechoslovakia, Hungary, Poland, Russia, and Yugoslavia will be viewed and analyzed, accompanied by readings on film history and theory. All films shown with subtitles; no knowledge of Russian or previous study of film required.
Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Film Studies

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SPAN B252 Compassion, Indignation, and Anxiety in Latin American Film
Not offered 2017-18
Stereotypically, Latin Americans are viewed as "emotional people"--often a euphemism to mean irrational, impulsive, wildly heroic, fickle. This course takes this expression at face value to ask: Are there particular emotions that identify Latin Americans? And, conversely, do these "people" become such because they share certain emotions? Can we find a correlation between emotions and political trajectories? To answer these questions, we will explore three types of films that seem to have, at different times, taken hold of the Latin American imagination and feelings: melodramas (1950s-1960s), documentaries (1970s-1990s), and "low-key" comedies (since 2000s.)
Cross-Cultural Analysis (CC)
Counts toward Film Studies
Counts toward Latin American, Iberian and Latina/o Studies

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SPAN B318 Adaptaciones literarias en el cine español
Fall 2017
Film adaptations of literary works have been popular since the early years of cinema in Spain. This course examines the relationship between films and literature, focusing on the theory and practice of film adaptation. Attention will be paid to the political and cultural context in which these texts are being published and made into films. Students will be required to attend film screenings or view films on their own devices. Prerequisite: A 200-level course in Spanish.
Counts toward Gender and Sexuality Studies
Counts toward Film Studies
Counts toward Latin American, Iberian and Latina/o Studies

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