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 2018

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: 7:00 PM-10:00 PM SUOld Library 224
FREN B312-001Advanced Topics in Literature: Revolutions Numerqiues de Pascal a L'internetSemester / 1Lecture: 1:10 PM- 4:00 PM TTaylor Hall, Seminar RoomSedley,D.
GNST B255-001Video ProductionSemester / 1Lecture: 1:10 PM- 4:00 PM WTaylor Hall BRomberg,D., Romberg,D.
Film Screening: 7:10 PM-10:00 PM MTaylor Hall B
HART B110-001Critical Approaches to Visual Representation: Identification in the CinemaSemester / 1Lecture: 11:10 AM-12:00 PM MWFCarpenter Library 13King,H., King,H., Teaching Assistant,T.
Film Screening: 7:10 PM-10:00 PM S
ITAL B213-001Theory in Practice:Critical Discourses in the Humanities: Critical TheoriesSemester / 1Lecture: 2:40 PM- 4:00 PM MWOld Library 251Giammei,A.
PSYC B375-001Movies and Madness: Abnormal Psychology Through FilmsSemester / 1Lecture: 1:10 PM- 4:00 PM WBettws Y Coed 239Rescorla,L.
RUSS B217-001The Cinema of Andrei TarkovskySemester / 1Lecture: 12:55 PM- 2:15 PM TTHTaylor Hall EHarte,T.

Spring 2019

COURSE TITLE SCHEDULE/
UNITS
MEETING TYPE TIMES/DAYS LOCATION INSTR(S)
EALC B212-001Topics: Introduction to Chinese Literature: Dream of the Red ChamberSemester / 1LEC: 2:25 PM- 3:45 PM TTHKwa,S.
EALC B315-001Spirits, Saints, Snakes, Swords: Women in East Asian Literature & FilmSemester / 1Lecture: 1:10 PM- 3:30 PM WKwa,S.
ENGL B231-001Theorizing Affect, Watching TelevisionSemester / 1Lecture: 2:25 PM- 3:45 PM TTHBryant,S.
Lecture: 2:25 PM- 3:45 PM TTH
ENGL B336-001Topics in Film: Cinematic VoiceSemester / 1LEC: 11:25 AM-12:45 PM TTHBryant,S.
Lecture: 11:25 AM-12:45 PM TTH
FREN B208-001Visible Minorities: Diversity in Contemporary French CinemaSemester / 1Lecture: 11:10 AM-12:00 PM MWFSuaudeau,J., Suaudeau,J.
Film screening: 7:00 PM-10:00 PM SU
FREN B312-001Advanced Topics in Literature: Wars & Conflicts in French LitSemester / 1LEC: 1:10 PM- 4:00 PM TMahuzier,B.
GERM B262-001Topics: Film and the German Literary ImaginationSemester / 1Lecture: 11:25 AM-12:45 PM TTHBurri,M.
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 MCarpenter Library 21
HIST B284-001Movies and America: The Past Lives ForeverSemester / 1LEC: 11:25 AM-12:45 PM TTHUllman,S.
Lecture: 11:25 AM-12:45 PM W
ITAL B229-001The Politics of Food in Italian Literature, Culture, and CinemaSemester / 1Lecture: 2:25 PM- 3:45 PM TTHDept. staff, TBA

Fall 2019

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

2018-19 Catalog Data

CSTS B274 Greek Tragedy in Global Cinema
Not offered 2018-19
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
Counts toward Counts toward Visual Studies

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CSTS B274 Greek Tragedy in Global Cinema
Not offered 2018-19
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
Counts toward Counts toward Visual Studies

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HART B110 Critical Approaches to Visual Representation: Identification in the Cinema
Fall 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
Counts toward Counts toward Visual Studies

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EALC B212 Topics: Introduction to Chinese Literature
Section 001 (Spring 2019): Dream of the Red Chamber
Spring 2019
This is a topics course. Topics may vary.
Current topic description: The Dream of Red Chambers (Hongloumeng) is the most important novel in Chinese

Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

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ITAL B212 Italy today: Migration Studies
Not offered 2018-19
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 B213 Theory in Practice:Critical Discourses in the Humanities
Section 001 (Fall 2018): Critical Theories
Fall 2018
What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.
Current topic description: What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.

Critical Interpretation (CI)
Counts toward Counts toward Africana Studies
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 2018-19
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
Not offered 2018-19
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
Not offered 2018-19
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
Counts toward Counts toward Visual Studies

Back to top

EALC B240 Topics in Chinese Film
Section 001 (Spring 2018): The Films of Wong Kar-wai
Not offered 2018-19
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 2018-19
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
Counts toward Counts toward Visual Studies

Back to top

EALC B281 Food in Translation: Theory and Practice
Not offered 2018-19
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

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HART B306 Film Theory
Not offered 2018-19
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
Counts toward Counts toward Visual Studies

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FREN B312 Advanced Topics in Literature
Section 001 (Fall 2018): Revolutions Numerqiues de Pascal a L'internet
Section 001 (Spring 2019): Wars & Conflicts in French Lit
Fall 2018, Spring 2019
This is a topics course. Course content varies. Prerequisites: two 200-level courses.
Current topic description: This course puts into perspective the digital revolution that has swept the 21st century. We will explore it as the latest in a series of revolutions that import numbers, algorithms, and machines into fields where letters and other media are previously the norm. The mathematical, technological, and literary works of Blaise Pascal will provide a focus for our discussions of the history of digitization, from Gutenberg to Google.
Current topic description: This course will explore key events in French war history from the Napoleonic era to the First World War as they appear in war narratives. Three interrelated problematics will be addressed: the poetic and ethical question of representation; the relation between story telling and historiography; and the fiction of memory vs. forgetting in the writing of national history.

Counts toward Counts toward Film Studies

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EALC B315 Spirits, Saints, Snakes, Swords: Women in East Asian Literature & Film
Spring 2019
This interdisciplinary course focuses on a critical survey of literary and visual texts by and about Chinese women. We will begin by focusing on the cultural norms that defined women's lives beginning in early China, and consider how those tropes are reflected and rejected over time and geographical borders (in Japan, Hong Kong and the United States). No prior knowledge of Chinese culture or language necessary.
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

Back to top

CSTS B274 Greek Tragedy in Global Cinema
Not offered 2018-19
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
Counts toward Visual Studies

Back to top

EALC B212 Topics: Introduction to Chinese Literature
Section 001 (Spring 2019): Dream of the Red Chamber
Spring 2019
This is a topics course. Topics may vary.
Current topic description: The Dream of Red Chambers (Hongloumeng) is the most important novel in Chinese

Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Film Studies

Back to top

EALC B240 Topics in Chinese Film
Section 001 (Spring 2018): The Films of Wong Kar-wai
Not offered 2018-19
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 2018-19
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 B315 Spirits, Saints, Snakes, Swords: Women in East Asian Literature & Film
Spring 2019
This interdisciplinary course focuses on a critical survey of literary and visual texts by and about Chinese women. We will begin by focusing on the cultural norms that defined women's lives beginning in early China, and consider how those tropes are reflected and rejected over time and geographical borders (in Japan, Hong Kong and the United States). No prior knowledge of Chinese culture or language necessary.
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

Back to top

EALC B212 Topics: Introduction to Chinese Literature
Section 001 (Spring 2019): Dream of the Red Chamber
Spring 2019
This is a topics course. Topics may vary.
Current topic description: The Dream of Red Chambers (Hongloumeng) is the most important novel in Chinese

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
Not offered 2018-19
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 2018-19
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

EALC B315 Spirits, Saints, Snakes, Swords: Women in East Asian Literature & Film
Spring 2019
This interdisciplinary course focuses on a critical survey of literary and visual texts by and about Chinese women. We will begin by focusing on the cultural norms that defined women's lives beginning in early China, and consider how those tropes are reflected and rejected over time and geographical borders (in Japan, Hong Kong and the United States). No prior knowledge of Chinese culture or language necessary.
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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ENGL B205 Introduction to Film
Fall 2018
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
Counts toward Visual Studies

Back to top

ITAL B213 Theory in Practice:Critical Discourses in the Humanities
Section 001 (Fall 2018): Critical Theories
Fall 2018
What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.
Current topic description: What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.

Critical Interpretation (CI)
Counts toward Counts toward Africana Studies
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

Back to top

ENGL B229 Movies and Mass Politics
Not offered 2018-19
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

ENGL B231 Theorizing Affect, Watching Television
Spring 2019
This course examines television through the lens of affect theory. Within humanities scholarship, the turn toward affect has offered new ways to study the cultural, economic, and political functions of literature and art. In our wider cultural moment, television programming has become a source of shared fascination. The course will pair readings from affect studies (by scholars such as Lauren Berlant and Sianne Ngai) with select examples of television shows (including Black Mirror, Mad Men, and The Wire). We will also read scholarly and public writing about television and consider the interplay between cultural feelings and televisual forms such as seriality, situation comedy, and bottle episodes.
Critical Interpretation (CI)
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

Back to top

RUSS B238 Topics: The History of Cinema 1895 to 1945
Not offered 2018-19
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
Counts toward Counts toward Visual Studies

Back to top

EALC B240 Topics in Chinese Film
Section 001 (Spring 2018): The Films of Wong Kar-wai
Not offered 2018-19
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

GERM B262 Topics: Film and the German Literary Imagination
Spring 2019
This is a topics course. Course content varies.
Current topic description: Taught in German, this course explores two cinematic Viennas: the mythmaking fantasy of the Habsburg empire, with its "fin-de-siècle Vienna," and the city of today, a place marked by competing visions of national identity, gender, culture and politics. We will study the "Wien-Film" and "Jewish Vienna" as well as recent attempts by Barbara Albert, Michael Haneke, Jessica Hausner, and others to redefine Vienna's significance within contemporary Europe.

Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

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HART B299 History of Narrative Cinema, 1945 to the present
Not offered 2018-19
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

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HART B306 Film Theory
Not offered 2018-19
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
Counts toward Counts toward Visual Studies

Back to top

EALC B315 Spirits, Saints, Snakes, Swords: Women in East Asian Literature & Film
Spring 2019
This interdisciplinary course focuses on a critical survey of literary and visual texts by and about Chinese women. We will begin by focusing on the cultural norms that defined women's lives beginning in early China, and consider how those tropes are reflected and rejected over time and geographical borders (in Japan, Hong Kong and the United States). No prior knowledge of Chinese culture or language necessary.
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

Back to top

ENGL B324 Topics in Shakespeare:
Section 001 (Spring 2018): Global Shakespeare
Not offered 2018-19
Films and play texts vary from year to year. The course assumes significant prior experience of Shakespearean drama and/or Renaissance drama.
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
Not offered 2018-19
This is a topics course. Course content varies.
Counts toward Counts toward Film Studies

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ENGL B336 Topics in Film
Section 001 (Spring 2018): Cinematic Voice
Section 001 (Spring 2019): Cinematic Voice
Spring 2019
This is a topics course and description varies according to the topic.
Current topic description: If film is primarily a visual medium, the integration of sound permanently changed the form. In this course, we will attend to the voice as a centrally important component of film sound. We will examine the ways voice has changed the cinema and the ways cinema has changed the voice. Topics include: the transition from silent to sound film; how voice is racialized and gendered in Hollywood film; the ways that filmmakers link voice to image, and why they matter aesthetically and politically; interiority and exteriority; and the possibility of non-human voice. The syllabus pairs a range of films with various theories relating to the concept of voice.

Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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ENGL B355 Performance Studies
Not offered 2018-19
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 2018-19
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 2018-19
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
Spring 2019
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
Not offered 2018-19
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

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GNST B255 Video Production
Fall 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
Counts toward Counts toward Visual Studies

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RUSS B258 Soviet and Eastern European Cinema of the 1960s
Not offered 2018-19
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: The Past Lives Forever
Spring 2019
Movies are one of the most important means by which Americans come to know - or think they know--their own history. We look to old movies to tell us about a world we never knew but think we can access through film. And Hollywood often reaches into the past to tell a good story. How can we understand the impact of our love affair with movies on our understanding of what happened in this country? In this course we will examine 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
Counts toward Counts toward Visual Studies

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HART B307 Advanced Video Production: Film on Photography
Not offered 2018-19
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 (Spring 2018): Cinematic Voice
Section 001 (Spring 2019): Cinematic Voice
Spring 2019
This is a topics course and description varies according to the topic.
Current topic description: If film is primarily a visual medium, the integration of sound permanently changed the form. In this course, we will attend to the voice as a centrally important component of film sound. We will examine the ways voice has changed the cinema and the ways cinema has changed the voice. Topics include: the transition from silent to sound film; how voice is racialized and gendered in Hollywood film; the ways that filmmakers link voice to image, and why they matter aesthetically and politically; interiority and exteriority; and the possibility of non-human voice. The syllabus pairs a range of films with various theories relating to the concept of voice.

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

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FREN B208 Visible Minorities: Diversity in Contemporary French Cinema
Spring 2019
Until the closing years of the 20th century, ethnic diversity was virtually absent from French cinema. While Francophone directors from Northern and Sub-Saharan Africa debunked colonialism and neocolonialism in their films, minorities hardly appeared on French screens. Movies were made by white filmmakers for a white audience. Since the 1980's and the 1990's, minorities have become more visible in French films. Are French Blacks and Arabs portrayed in French cinema beyond stereotypes, or are they still objects of a euro-centric gaze? Have minorities gained agency in storytelling, not just as actors, but as directors? What is the national narrative at play in the recent French films that focus on diversity? Is it still "us against them", or has the new generation of French filmmakers found a way to include the different components of French identity into a collective subject? From Bouchareb to Gomis, from Kechiche to Benyamina and Jean-Baptiste, this course will map out the visual fault lines of the French self and examine the prospects for a post-republican sense of community. Open to non-majors. There will be a weekly screening and a 4th hour taught in French.
Critical Interpretation (CI)
Counts toward Africana Studies
Counts toward Film Studies

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ITAL B213 Theory in Practice:Critical Discourses in the Humanities
Section 001 (Fall 2018): Critical Theories
Fall 2018
What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.
Current topic description: What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.

Critical Interpretation (CI)
Counts toward Counts toward Africana Studies
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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FREN B312 Advanced Topics in Literature
Section 001 (Fall 2018): Revolutions Numerqiues de Pascal a L'internet
Section 001 (Spring 2019): Wars & Conflicts in French Lit
Fall 2018, Spring 2019
This is a topics course. Course content varies. Prerequisites: two 200-level courses.
Current topic description: This course puts into perspective the digital revolution that has swept the 21st century. We will explore it as the latest in a series of revolutions that import numbers, algorithms, and machines into fields where letters and other media are previously the norm. The mathematical, technological, and literary works of Blaise Pascal will provide a focus for our discussions of the history of digitization, from Gutenberg to Google.
Current topic description: This course will explore key events in French war history from the Napoleonic era to the First World War as they appear in war narratives. Three interrelated problematics will be addressed: the poetic and ethical question of representation; the relation between story telling and historiography; and the fiction of memory vs. forgetting in the writing of national history.

Counts toward Film Studies

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GEOL B125 Focus: Geology in Film
Not offered 2018-19
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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ITAL B213 Theory in Practice:Critical Discourses in the Humanities
Section 001 (Fall 2018): Critical Theories
Fall 2018
What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.
Current topic description: What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.

Critical Interpretation (CI)
Counts toward Counts toward Africana Studies
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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GERM B262 Topics: Film and the German Literary Imagination
Spring 2019
This is a topics course. Course content varies.
Current topic description: Taught in German, this course explores two cinematic Viennas: the mythmaking fantasy of the Habsburg empire, with its "fin-de-siècle Vienna," and the city of today, a place marked by competing visions of national identity, gender, culture and politics. We will study the "Wien-Film" and "Jewish Vienna" as well as recent attempts by Barbara Albert, Michael Haneke, Jessica Hausner, and others to redefine Vienna's significance within contemporary Europe.

Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Film Studies

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GNST B255 Video Production
Fall 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
Counts toward Visual Studies

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GNST B302 Topics in Video Production
Spring 2019
This is a topics course. Course content varies.
Counts toward Film Studies

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CSTS B274 Greek Tragedy in Global Cinema
Not offered 2018-19
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
Counts toward Counts toward Visual Studies

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HART B110 Critical Approaches to Visual Representation: Identification in the Cinema
Fall 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
Counts toward Visual Studies

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ENGL B205 Introduction to Film
Fall 2018
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
Counts toward Counts toward Visual Studies

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EALC B212 Topics: Introduction to Chinese Literature
Section 001 (Spring 2019): Dream of the Red Chamber
Spring 2019
This is a topics course. Topics may vary.
Current topic description: The Dream of Red Chambers (Hongloumeng) is the most important novel in Chinese

Cross-Cultural Analysis (CC)
Critical Interpretation (CI)
Counts toward Counts toward Film Studies

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ITAL B213 Theory in Practice:Critical Discourses in the Humanities
Section 001 (Fall 2018): Critical Theories
Fall 2018
What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.
Current topic description: What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.

Critical Interpretation (CI)
Counts toward Counts toward Africana Studies
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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RUSS B238 Topics: The History of Cinema 1895 to 1945
Not offered 2018-19
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
Counts toward Counts toward Visual Studies

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HART B299 History of Narrative Cinema, 1945 to the present
Not offered 2018-19
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 2018-19
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
Counts toward Visual Studies

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HART B307 Advanced Video Production: Film on Photography
Not offered 2018-19
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
Not offered 2018-19
This is a topics course. Course content varies.
Counts toward Film Studies

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ENGL B336 Topics in Film
Section 001 (Spring 2018): Cinematic Voice
Section 001 (Spring 2019): Cinematic Voice
Spring 2019
This is a topics course and description varies according to the topic.
Current topic description: If film is primarily a visual medium, the integration of sound permanently changed the form. In this course, we will attend to the voice as a centrally important component of film sound. We will examine the ways voice has changed the cinema and the ways cinema has changed the voice. Topics include: the transition from silent to sound film; how voice is racialized and gendered in Hollywood film; the ways that filmmakers link voice to image, and why they matter aesthetically and politically; interiority and exteriority; and the possibility of non-human voice. The syllabus pairs a range of films with various theories relating to the concept of 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 2018-19
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: The Past Lives Forever
Spring 2019
Movies are one of the most important means by which Americans come to know - or think they know--their own history. We look to old movies to tell us about a world we never knew but think we can access through film. And Hollywood often reaches into the past to tell a good story. How can we understand the impact of our love affair with movies on our understanding of what happened in this country? In this course we will examine 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
Counts toward Visual Studies

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PSYC B375 Movies and Madness: Abnormal Psychology Through Films
Fall 2018
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
Not offered 2018-19
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
Not offered 2018-19
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 B213 Theory in Practice:Critical Discourses in the Humanities
Section 001 (Fall 2018): Critical Theories
Fall 2018
What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.
Current topic description: What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.

Critical Interpretation (CI)
Counts toward Africana Studies
Counts toward Gender and Sexuality Studies
Counts toward Film Studies

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ITAL B214 The Myth of Venice (1800-2000)
Not offered 2018-19
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
Spring 2019
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
Not offered 2018-19
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
Not offered 2018-19
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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ITAL B307 Insiders and Outsiders: Otherness in Italian Literature
Not offered 2018-19
This course will introduce students to the most representative works in Italian literature of all genres --poetry, novels, scientific prose, theater, diaries, narrative, epistolary--throughout the centuries, with emphasis on marginalization, exile, political persecution, national identity, violence, and otherness. We will bring works of literature to the attention of students who are interested in the key role played by Italian culture in the development of a European civilization, including the international debate on modernity and post-modernity. Readings and lectures will move from 14th century writers (Dante, Boccaccio) to Humanistic Thought (Florentine political revolution) and the Renaissance (Machiavelli); from the Enlightenment (Foscolo, Leopardi, Manzoni) to modernity (Pirandello, Svevo) and post-modernism (Calvino). Prerequisite: One literature course at the 200 level. or permission by the instructor.
Counts toward Film Studies

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CSTS B274 Greek Tragedy in Global Cinema
Not offered 2018-19
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
Counts toward Counts toward Visual Studies

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ITAL B213 Theory in Practice:Critical Discourses in the Humanities
Section 001 (Fall 2018): Critical Theories
Fall 2018
What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.
Current topic description: What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.

Critical Interpretation (CI)
Counts toward Counts toward Africana Studies
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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PSYC B375 Movies and Madness: Abnormal Psychology Through Films
Fall 2018
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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ITAL B255 Uomini d'onore in Sicilia: Italian Mafia in Literature and Cinema
Not offered 2018-19
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 Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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ITAL B306 Youth in 20th Century Italian Literature and Cinema
Not offered 2018-19
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 Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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ITAL B213 Theory in Practice:Critical Discourses in the Humanities
Section 001 (Fall 2018): Critical Theories
Fall 2018
What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.
Current topic description: What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.

Critical Interpretation (CI)
Counts toward Counts toward Africana Studies
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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RUSS B217 The Cinema of Andrei Tarkovsky
Fall 2018
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
Not offered 2018-19
This is a topics course. Course content varies.
Inquiry into the Past (IP)
Counts toward Gender and Sexuality Studies
Counts toward Film Studies
Counts toward Visual Studies

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RUSS B258 Soviet and Eastern European Cinema of the 1960s
Not offered 2018-19
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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ITAL B213 Theory in Practice:Critical Discourses in the Humanities
Section 001 (Fall 2018): Critical Theories
Fall 2018
What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.
Current topic description: What is a postcolonial subject, a queer gaze, a feminist manifesto? And how can we use (as readers of texts, art, and films) contemporary studies on animals and cyborgs, object oriented ontology, zombies, storyworlds, neuroaesthetics? In this course we will read some pivotal theoretical texts from different fields, with a focus on race&ethnicity and gender&sexuality. Each theory will be paired with a masterpiece from Italian culture (from Renaissance treatises and paintings to stories written under fascism and postwar movies). We will discuss how to apply theory to the practice of interpretation and of academic writing, and how theoretical ideas shaped what we are reading. Class conducted in English, with an additional hour in Italian for students seeking Italian credit.

Critical Interpretation (CI)
Counts toward Counts toward Africana Studies
Counts toward Counts toward Gender and Sexuality Studies
Counts toward Counts toward Film Studies

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