REQUIREMENTS

CINE 101 - Film History
Cross-listed: ENGL 091, ARTH 108
This course fulfills the Arts & Letters Sector (ALL CLASSES)
This course is an introduction to the history of cinema from 1895 to the present. In demonstrating how history energizes and complicates the movies, we will examine numerous film cultures and historical periods, including early short films from Europe and the US, Hollywood silent cinema, Italian neo-realism, the French New Wave, New German Cinema, recent Iranian and Taiwanese cinema, and a variety of other film movements from different historical epochs and cultures. Our aim is to establish a broad historical and global foundation for the understanding of film as a complex exchange between art, technology, politics, and economics. Screenings are mandatory.
TR 12:00 - 1:30
MAZAJ, Meta

CINE 102 - Film Analysis and Methods
Cross-listed: ENGL 092, ARTH 109
This course fulfills the Arts & Letters Sector (ALL CLASSES)
This course is an introduction to the analysis of film as both a textual practice and a cultural practice. We will examine a variety of films—from Fritz Lang's M (1931) to Julia Dash's Daughters of the Dust (1991)--in order to demonstrate the tools and skills of "close reading." We will concentrate on those specifically filmic features of the movies, such as mise-en-scene, cinematography, editing and sound strategies, as well as those larger organizational forms, such as narrative and non-narrative structures and movie genres. Because our responses to the movies always extend beyond the film frame, we will additionally do "close readings" of the complex business of film distribution, promotion, and exhibition to show how the less visible machinery of the movie business also shapes our understanding and enjoyment of particular films. Along the way, we will discuss some of the most influential and productive critical schools of thought informing film analysis today, including realism, auteurism, feminism, postmodernism, and others.
R 5:00 - 8:00
MAZAJ, Meta

CINE 498 - Cinema Studies Seminar (Open only to Cinema Studies Graduating Majors)
As a capstone course for the major, this seminar will allow students to develop a research project in cinema studies. A single faculty member will oversee the seminar, but each student will additionally work in consultation with a faculty advisor from the Cinema Studies Faculty.
T 3:00 - 6:00
CORRIGAN, Timothy

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CINE 202.401 - Contemporary Documentary Cinema
Cross-listed: ENGL 292.401; ARTH 290.401
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
This course will engage the multiple historical, technological, and economic changes that have made contemporary documentary cinema arguably the most vital and inventive film practice today. During the first part of the semester, we will examine the historical traditions that have defined documentary film through the twentieth century: from early “actualities” and the films of Robert Flaherty in the 1920s through the experiments with cinema verite and direct cinema in the 1950s and 1960s. Alongside these practices, we will read various critical and theoretical positions, such as those found in the writings of Dziga Vertov, John Grierson, and Jean Rouch. The majority of the course, however, will tackle the dynamic variety of documentary work made since 1980. This will include films by Chris Marker, Errol Morris, Trinh T. Minh-ha, and others where the confluence of a digital revolution and new ideological subject positions have redefined what documentary cinema is and is capable of. Requirements will include a seminar presentation, a short analytical essay, and a research project. There are no prerequisites.
TR 12:00 - 1:30
CORRIGAN, Timothy

CINE 204 - Visual Communication
Cross-listed: COMM 262
Examination of the structure and effects of visual media (film, television, advertising, and other kinds of pictures).
TR 3:00 - 4:30
MESSARIS, Paul

CINE 205 - Visions of Rome in Italian and American Cinema
Cross-listed: CLST 206
An overview of cinematic responses to the idea of Rome, ancient and modern, city and empire, place and idea, from the silent era to the present day. The emphasis will be on how successive visions of Rome reflect evolving political and social conditions on both sides of the Atlantic and the relative positions of the American and Italian film industries within the world market. Specific topics to be explored include the mutually-defining relationship between Italian and American society as reflected in the cinematic art, the dialectic between conceptions of antiquity and modernity, and the place of reception studies in approaches to both classical and contemporary material. Screenings of works by Federico Fellini, Cecil B. DeMille, William Wyler, Roberto Rossellini and other major directors.
MW 1:00 - 2:00
FARRELL, Joseph

CINE 221 - Korean Film and Culture
Cross-listed: EALC 186
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
In this course we will study Korean films to think about expressions of and contemporary uses of emotion. We will consider how these cinematic texts serve as a site for theorizing and historicizing emotion in modern Korea. In particular, we will explore the most extreme, but also the most basic, human emotions such as fear, pain, love, and sadness. The course will be divided into four sections: Korean horror films where we will ask if there is an aesthetics of fear; Pak Ch’anwook’s vengeance trilogy to explore psychosis and madness; Kim Kiduk’s controversial films to problematize love, affection, and jealousy; and the melodrama genre to interrogate whether or not we can indeed name a unique Korean emotion called han (often translated as extreme sorrow or bitterness). In addition, throughout the course we will ask how Korean films produce versions of emotional life that address various aspects of Korean history, class, gender, sexuality, and culture. Films will be supplemented with theory, history, and popular culture texts and draw on writings by both Eastern and Western thinkers such as Mencius, Yi Sang, Foucault, Sartre, Merleau-Ponty among others.
F 2:00 - 5:00
KIM, Jina

CINE 232 - Brazilian Culture and History through Film (OFFERED IN SPANISH)
Cross-listed: SPAN 223; PRTG 240
This course fulfills the Arts & Letters Sector (ALL CLASSES) and the Cross Cultural Analisys Sector (C'10 AND AFTER)
This seminar will explore Brazilian film production, both documentary and full-feature, in order to point out essential aspects of the history and culture of Brazil. The films will be used as an overture for the discussion of topics such as the colonization of Brazil (Desmundo, Hans Staden, Carlota Joaquina a Princesa do Brasil), the complex relations between Indigenous peoples, Africans and Europeans in Brazil (Quilombo, Xica da Silva, Brava Gente Brasileira), the struggles during the establishment of the Brazilian nation (A Guerra de Canudos, Netto Perde Sua Alma), and the relation between Brazil and its Hispanic neighbors (Anahy de las Misiones, A Guerra do Brasil).
This class will be conducted in Spanish.
TR 10:30 - 12:00
FLORES, T.

CINE 265.401 - Russian and Eastern European Film
Cross-listed: RUSS 165; SLAV 165
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
The purpose of this course is to present the Russian and East European contribution to the world cinema in terms of film theory, experimentation with the cinematic language, social and political reflex. We focus on the following themes and issues: the invention of montage, the means of visual propaganda and the cinematic component to the communist cultural revolutions, party ideology and practices of social-engineering, cinematic response to the emergence of the totalitarian state in Russia and its subsequent installation in Eastern Europe after the WW2; the post-communist reality.
MW 2:00 - 3:30
TODOROV, Vladislav

CINE 365.601 - National and Ethnic Conflict in Film
Cross-listed: RUSS 430
This course fulfills History & Tradition Distribution (C'09 AND PRIOR)
This course studies the cinematic representation of civil wars, ethnic conflicts, nationalistic doctrines, and genocidal policies. The focus is on these violent developments that took place in Russia and in the Balkans after the collapse of the Soviet Bloc and were conditioned by the new geopolitical dynamics that the fall of communism had already created. We study media broadcasts, documentaries, feature films representing the Eastern, as well as the Western perspective.
M 5:30 - 8:30
TODOROV, Vladislav

CINE 386 - Paris in Film
Cross-listed: FREN 386
Recent examples like Christophe Honoré’s Dans Paris or the international omnibus Paris, je t’aime (with each director paying homage to a distinctive “arrondissement,” or district, of the capital), both released in 2006, are there to remind us that there is something special – indeed, a special kind of magic – about Paris in and on film. Despite the extreme polarization between Paris and provincial France in both cultural and socio-economic terms, cultural historians have argued that Paris is a symbol of France (as a centralized nation), more than Rome is of Italy and much more than Madrid is of Spain or Berlin of Germany, for example. The prevalence of the City of Lights on our screens, Gallic and otherwise, should therefore come as no surprise, be it as a mere backdrop or as a character in its own right. But how exactly are the French capital and its variegated people captured on celluloid? Can we find significant differences between French and non-French approaches, or between films shot on location that have the ring of “authenticity” and studio-bound productions using reconstructed sets? Do these representations vary through time and perhaps reflect specific historical periods or zeitgeists? Do they conform to genre-based formulas and perpetuate age-old stereotypes, or do they provide new, original insights while revisiting cinematic conventions? Do some (sub)urban areas and/or segments of the Parisian population (in terms of gender, race or class, for example) receive special attention or treatment? These are some of the many questions that we will seek to address… with a view to offering the next best thing to catching the next non-stop flight to Paris! Films by such directors as Renoir, Minelli, Truffaut, Godard, Malle, Bertolucci, Losey, Rohmer, Tavernier, Carax, Kassovitz, Jeunet, Haneke. This class will be conducted in English. Students writing their assignments in French will receive credit for the French major.
TR 3:00 - 4:30
MET, Philippe

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CINE 009.301 - CRITICAL WRITING SEMINAR IN CINEMA STUDIES: In the Zone
This course fulfills the writing requirement for all undergraduates.
The ancient Greeks immortalized their athletes in praise poems and marble sculptures, whereas we tend to use film, play-by-play commentary, and talk radio to celebrate, describe, or critique feats of physical wonder. In this course, we will explore the links between writing and doing, between the mind and the body. We will examine a range of films (possible titles include The Loneliness of the Long Distance Runner, The Natural, and Blue Crush), as well as essays and news articles. We will disregard unreasonable coaches, love interests, and other distracting plot elements to address the problem of “translating” physical form, motion, and experiences into images and words. Students need not be athletes to enroll, but personal experience will form the basis of several writing assignments.
TR 12:00 - 1:30
SADASHIGE, Jacqueline

CINE 009.302 - CRITICAL WRITING SEMINAR IN CINEMA STUDIES: Arrested Development
This course fulfills the writing requirement for all undergraduates.
A Bildungsroman is commonly translated as a "narrative of development." This writing-intensive course will use punk-inspired films such as Trainspotting, Fight Club, American History X, A Clockwork Orange, Ghost World and La Haine as an occasion to explore the development of punk artists, and the worldview that brought about their unique vision. There will be many short papers, written with an eye to using small pieces as "building blocks," with students learning to combine and expand these into longer essays.
MW 2:00 - 3:30
BAUMLI, Kristina

CINE 009.303 - CRITICAL WRITING SEMINAR IN CINEMA STUDIES: Destination Rock & Roll
This course fulfills the writing requirement for all undergraduates.
The road trip and rock and roll: two quintessentially American experiences that will form occasions for writing in this course. We will use films like A Hard Day's Night, Almost Famous, Festival Express, Easy Rider, Woodstock, Thelma and Louise, and Rock and Roll Circus to explore the aesthetic relationship between the the vast American spaces and the great American music idiom: rock. There will be numerous short writing exercises, designed with an eye to using short pieces of writing as building blocks for larger pieces.
MW 5:00 - 6:30
BAUMLI, Kristina

CINE 009.304 - CRITICAL WRITING SEMINAR IN CINEMA STUDIES: Cinema of Paranoia
This course fulfills the writing requirement for all undergraduates.
While cinema may be understood as nothing else but a medium for the representation of systematized delusions and the projection of personal, political, and social conflicts, this course explores films that provide an especially fruitful opportunity to write about the phenomenon of paranoia. Its scope is broad and its assignments will reflect the remarkable range of thinking about the cinema from its origins to the present. Early film writers, for example, worked hard not to write film reviews. Composing an aesthetic essay on the silent film will thus constitute an early exercise in the course. Students will also be given the opportunity to recognize and write according to the principles of other genres of film criticism, including auteur, political, and mise-en-scène styles. The contemporary rhetoric of the superlative will be explored in the one polished film review for the course. Two case studies in film will constitute the focus of attention. First, works from the silent and early sound era that sought to develop formal principles of film construction that would express dramatic, existential, and political conflicts in a way “proper” to the cinema. Second, a group of Hollywood films from the nineteen fifties and later that explore individual and collective anxieties about untrustworthy individuals, mass movements, and the growing involvement of America abroad. Is there a difference between individual anxiety and mass hysteria? What kinds of strategies do societies develop to cope with fear? How does someone become a person beset by pervasive distrust and suspiciousness? Is there more to fear than “fear itself”?
TR 5:00 - 6:30
BURRI, Michael

CINE 009.305 - CRITICAL WRITING SEMINAR IN CINEMA STUDIES: Strange Bedfellows
This course fulfills the writing requirement for all undergraduates.
In this seminar, we will consider films, short stories, and essays that foreground the relationship between politics and perversion. Focusing on 20th-century Latin America, we will reflect on how the state defines, manipulates, and seeks to control behavior that it defines as perverse or deviant. We will explore such questions as: What constitutes perversion? When is a text considered political? How does this differ by country or region? We will view such films as Lone Star and Y tu mamá también, and will read short stories by Julio Cortázar and Horacio Quiroga, among others. Writing requirements will include journal entries, Blackboard postings, in-class workshops, and frequent drafts and revisions of papers. Readings will be in English, and films will be subtitled as necessary.
MW 5:00 - 6:30
LAHR-VIVAZ, Elena

CINE 009.306 - CRITICAL WRITING SEMINAR IN CINEMA STUDIES: The Allure of Black and White
This course fulfills the writing requirement for all undergraduates.
Contemporary audiences -- particularly young ones -- are resistant to films in black-and-white, a reasonable enough position in an age of increasingly enhanced imagery. But of course most cinema classics were shot in black-and-white, and filmmakers adore the homage to their predecessors and the emotional and stylistic grandeur of the format. Every year noted auteurs -- the impressive list of directors includes Martin Scorsese, Woody Allen, Steven Spielberg, Wim Wenders, David Lynch, Jim Jarmusch, Tim Burton, The Coen Brothers and George Clooney -- risk financial shortcomings and obscurity by working in black-and-white, and this course will look at some of the most celebrated works in the modern age, the motivation of their creators, and their commentary on genre, history, and film legacy. Our writing will include critical analysis, film review, essays, and screenplays. Revision of written work is an essential component of the class; grades are based on final portfolio.
TR 1:30 - 3:00
DONOVAN, Christopher

CINE 055 - Monsters of Japan: Weird Creatures in Legend, Literature and Film
Cross-listed: EALC 055
A look at monstrous beasts and other strange creatures in Japanese history, literature, mythology and film. From the eight-headed Orochi described in the 8th century Kojiki to the cute “pocket monsters” popular in anime of the 1990’s, we will look at many strange creatures, focusing most on the “King of the Monsters,” Godzilla, and his many subjects in the Toho films of the last half-century. The course will be paralleled by a (required) film series on Tuesday nights.
T 3:00 - 6:00
CHANCE, Frank

CINE 105 - Religion and Film
Cross-listed: RELS 105
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
DESCRIPTION...
M 6:00 - 9:00
DERAKHSHANI, Tirdad

CINE 112 - Literature and Film in the Age of Globalization
Cross-listed: ENGL 102; COML 245
This course fulfills the Arts & Letters Sector (ALL CLASSES)
This is an introductory course about “world fictions” (both literary and cinematic) in the age of global English. How are works of contemporary literature and film in English – the kinds of stories they tell, their ways of telling, and their fates in the marketplace – being reshaped by globalization? Are the growing media dominance of the English language and the increasing power of London, New York, and Hollywood as the major centers of cultural production effecting a kind of McNovelization of the developing world, in which poorer and more peripheral locations can only tell their stories in the forms approved by the media conglomerates and their large western readerships? Or are we seeing the breakdown of any clear standard or center: the emergence of new, weird and rogue forms of English, wild deformations of the conventional English novel and the normative Hollywood film, and ever more radically opposed narratives about the state of the world? In order to approach these and other questions, we will read six or seven mostly short novels and view a handful of films. Our syllabus will likely include The Joys of Motherhood by Bucchi Emecheta, Sozaboy by Ken Saro-Wiwa, Dogeaters by Jessica Hagedorn, Life of Pi by Yann Martel, and the films Trainspotting by Danny Boyle, Ratcatcher by Lynne Ramsay, Ararat by Atom Egoyan, and Bride and Prejudice by Mira Nair. Each of these works has attained a certain stature in the world system, some by winning major international prizes and awards, some by achieving massive commercial success, and some simply by being widely taught in high school and university English classes. We will consider not only texts in themselves, but the ways they have been advertised, distributed, and consumed. Work for this class will include six short quizzes, and two essays (3-5 pages for the first and 6-8 pages for the second), both of which will be submitted in draft form and then revised after feedback from your TA. No previous study of literature or film is required or expected.
TR 10:30 - 11:30
ENGLISH, James

CINE 125 - Adultery Novel
Cross-listed: RUSS 125
This course fulfills the Arts & Letters Sector (ALL CLASSES)
The object of the course is to analyze a series of novels (and a few short stories) about adultery from the late eighteenth through the late nineteenth centuries. At the same time, we will be examining a series of films concerning the same subject matter—half of them adaptations of the works that we will read and half original treatments of infidelity. Our reading will teach us about novelistic traditions of the periods in question and about the relationship of Russian literature to the European models to which it responded. Our film viewings will allow us to consider the meaning of adultery today through a different medium of communication, as well as problems of literary adaptation and the status of classic literature in contemporary society. In our coursework we will apply various critical approaches in order to place adultery into its social and cultural context, including: socio logical descriptions of modernity, Marxist examinations of family as a social and economic institution, Freudian/ Psychoanalytic interpretations of family life and transgress sive sexuality, Feminist work on the construction of gender. In general, we will see the ways in which human identity is tied to gender roles, and the complex relationship tying these matters of the libido and the family to larger issues of social organization.
TR 10:30 - 12:00
PLATT Kevin

CINE 138 - Sound Studies: Things that Talk
Cross-listed: ENGL 034.402
This course fulfills the Humanities & Social Sciences Sector (C'10 AND AFTER)
This course provides an introduction to the emerging field of “sound studies” with a focus on speech and hearing in the modern period. Talking things such as the telephone, radio, phonograph, sound film, and speaking automata allowed the reproduction and recording of the voice, which was previously imagined to be ephemeral, and largely personal. Has the manufacture of speech and hearing changed the nature of communication? What are the distinctions between oral and visual language? Is speech essentially human? Do new technologies for speaking allow new forms of sociality and politics? We will pay particular attention to sound film—as a means for editing and broadcasting the voice and as a medium that explicitly interrogates technological modernity.
TR 3:00 - 4:30
MILLS Mara

CINE 150 - Television Studies
Cross-listed: ENGL 091.402
This course fulfills the Arts & Letters Sector (ALL CLASSES)
As a complex cultural product, television lends itself to a variety of critical approaches that build-on, parallel, or depart from film studies. This introductory course in television studies begins with an overview of the medium’s history and explores how technical and industrial changes correspond to developing conventions of genre, programming, and aesthetics. Along the way, we analyze key concepts and theoretical debates that shaped the field. In particular, we will focus on approaches to textual analysis in combination with industry research, and critical engagements with the political, social and cultural dimensions of television as popular culture.
TR 9:00 - 10:30
OREN, Tasha

CINE 202.601 - International Novel and Film
Cross-listed: ENGL 292.601
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
What happens to a novel when it becomes a movie? This course will examine novels from several different countries and their film adaptations. The themes will be familiar—war, love, intrigue, survival—but the settings will be international. Possible novel/films include: Alberto Moravia’s The Conformist (Italy); Nikos Kazantzakis’s Zorba the Greek (Greece); Edna O’Brien’s A Country Girl (Ireland); Henri Peirre Roche’s Jules et Jim (France); C.J. Koch’s The Year of Living Dangerously (Australia) and Milan Kundera’s The Unbearable Lightness of Being (Czech); Laura Esquivel’s Like Water for Chocolate (Mexico). Course work will include frequent short analytical essays and a research paper on a novel and film of the student’s choice.
T 5:30 - 8:30
ESPEY, David

CINE 225 - Immigration in Drama and Cinema
Cross-listed: THAR 275; ASAM 275
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
We will explore representations of immigration in performing arts and cinema, from West Side Story to Millennium Approaches, to what’s new on youtube.com, and more. With an emphasis on works relating to gender and society, the course will address perspectives of U.S. citizens, residents, and immigrants as students research, write about, and deliver presentations on plays and films. Topics may include the Trail of Tears, the Middle Passage, the Colonial Period, Irish and Italian immigration, Jewish women garment workers, plantation laborers in Hawai`i, Japanese internment during WWII, the Chicano movement, Asian American performance affiliated with websites like yolk.com, Middle Eastern immigrants before and after September 11, and even some international theatre and cinema. A focus of the course is how digital technology supports theatre, film, and video; in addition to completing traditional study projects, we will also engage with technology in creative ways, for instance, by designing our own website on immigration.
MW 2:00 - 3:30
LAFFERTY, Mera

CINE 265.402 - Russian History and Film
Cross-listed: RUSS 275
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
This course draws on fictional, dramatic and cinematic representation of Russian history based on Russian as well as non-Russian sources and interpretations. The discussions involve the following themes and historical personae: Ivan the Terrible; Rasputin, his uncanny powers and sex-appeal; Lenin and the October Revolution; Stalin and the cult of personality; images of war; the times of construction and the times of dismantling of the Soviet Colossus.
MW 3:30 - 5:00
TODOROV, Vladislav

CINE 280 - Americans in Paris
Cross-listed: ENGL 286
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
American literature from the perspective of its everlasting captivation with the city of Paris. Ranging from the 18th century to the present, we’ll concentrate on major American writers, such as Benjamin Franklin, Edgar Allan Poe, Frederick Douglass, Henry James, Gertrude Stein, Ernest Hemingway, Langston Hughes, Henry Miller, James Baldwin, Janet Flanner, Elizabeth Bishop, and Edmund White, as well as important artists, filmmakers, and musicians, such as John Singer Sargent, Mary Cassatt, Henry Ossawa Tanner, Man Ray; Jean-Luc Godard, Stanley Donen, Robert Altman, Wim Wenders; Louis Armstrong, George Gershwin, Josephine Baker, Cole Porter, and Miles Davis. We’ll also take note of the everlasting French captivation with America, from Crèvecoeur and Tocqueville to Simone de Beauvoir and MC Solaar. Classes will be organized around important themes and problems, such as: “What Is an American?”; “Sex Tourism and the Founding Fathers”; “Revolution and Terror”; “Pleasure and Alienation”; “Many Modernisms”; “Les Années Folles and All that Jazz”; “Harlem and Paris”; “The Post-Colonial”; “68, or Something”; and “Freedom Fries.” The course will also offer an explicitly transnational perspective on the concept of national literatures. Requirements include several very short essays, an in-class presentation, and a longer final essay. No knowledge of French is required, though bilingual projects are welcome. Interested students are encouraged (but not required) to visit the “Americans in Paris: 1860-1900” exhibition at New York’s Metropolitan Museum, which runs from October 24 to January 28.
M 2:00 - 5:00
CAVITCH, Max

CINE 296 - Contemporary Television and Media: Texts, Technology and Audiences
Cross-listed: ENGL 295
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
This upper-level course focuses on the intersection of storytelling and technology in our global media environment. Through theoretical arguments, analysis, and examples, we will explore recent developments, technological innovations and changing conventions that currently shape media narratives, viewer experience and industry behavior. We will pay special attention to the role of media convergence, considering how “traditional” popular media like television and film increasingly interact with web-media, video games, and mobile technologies. In addition, the course will also offer a practical component on writing with a particular concentration on constructing and organizing a theoretical argument.
W 3:30 - 6:30
OREN, Tasha

CINE 308 - Gender History and American Cinema
Cross-listed: HIST 347; GSOC 347
More than any other medium, the motion pictures fostered new ideals and images of modern womanhood and manhood in the United States. Through the twentieth century, gender representations on the screen bore a complex relationship to the social, economic, and political transformations marking the lives and consciousness of American men and women. This course explores the history of American gender in the last 100 years through film.  It treats the motion pictures as a primary source that, juxtaposed with other kinds of historical evidence, opens a window onto gendered work, leisure, sexuality, family life, and politics. We will view a wide range of Hollywood films since 1900, as well as films made by blacklisted artists, feminists, and alternative film-makers. Students will write several short papers and do a research project on a film of their choice. Note: Attendance at screenings is mandatory.
TR 10:30 - 12:00
PEISS, Kathy

CINE 310 - Fiction and Film in Postcolonial Frame
Cross-listed: SAST 310
Scholars argue that the relationship between film and literature is confrontational, transgressive, dialogic, and ambivalent. We will use those criteria for examining how postcolonial fiction and film mutually frame each other. Our examination of the traffic between film and literature will be organized around film adaptations and literary texts linked by genre, topic, and style. How do these works cross cultural, political and aesthetic boundaries? How are our understandings of "high" and "low" culture re-defined in this exchange? What are the particular implications of these crossings in South Asian postcolonial contexts for thinking about how the following concepts are defined: modernism, realism, and translation? How are vernacular, folk, and popular cultures recast in these texts? Finally, what role does Bollywood cinema play in inflecting the particular aesthetics of magically realist literature in the South Asian context? While the class will focus on South Asian texts, we will draw on film, literature, and theoretical frameworks from other postcolonial contexts to consider the licenses and limits of comparison for this study.
R 3:00 - 6:00
MAJITHIA, Sheetal

CINE 329 - Israeli Fim and Literature: Love and War
Cross-listed: NELC 159; COML 282; JWST 154
This course fulfills the Arts & Letters Distribution (C'09 and PRIOR) and the Cross Cultural Analisys Sector (C'10 AND AFTER)
While the American tradition sanctifies the "pursuit of happiness," Israeli consciousness does not. The "tug of war" between the individual's right to seek happiness on the one hand, and the commitment to collective, national causes on the other, is an overarching theme in Israeli literary and cinematic works. This struggle, as it is reflected in the arts, crosses lines of gender and genre, age and ethnic background. So deeply ingrained is the superiority of national concerns that a leading Israeli critic accused the renowned author
A.B. Yehoshua of "desertion" when he wrote a mere love story. We will study works of fiction, poetry and film created by Israeli men and women from 1948-2006. Some of the works deal with the relationship between love and war, while others focus on one of the two. Readings include Yehoshua, Oz, Amichai, Ravikovitch & Katzir. Films include works by Barbash, Agmon, Ben-Dor &
Dotan. There will be six film screenings; the films will also be placed on reserve at the library for those students unable to attend the screenings. The content of this course changes from year to year, and therefore, students may take it for credit more than once.
TR 1:30 - 3:00
GOLD, Nili

CINE 336 - Anthropology and the Cinema
Cross-listed: ANTH 336
While it has traditionally studied the expressive behaviors of many other cultures around the globe, American anthropology has rarely used its tools of cultural analysis to look its own storytelling, especially as seen in mass-market Hollywood movies. This course will apply textual and contextual analysis, cross-cultural comparisons, mythological and symbolic approaches, and cognitive, linguistic and discourse analysis to look at the form, content and effects of popular movies. This semester, the last segment of the course will focus on the live-action movies created by the Disney Studios: from the early family movies like Pollyanna and The Shaggy Dog to Pirates of the Caribbean and National Treasure.
TR 10:30 - 12:00
KRASNIEWICZ, Louise

CINE 340.401 - Children in Italian Literature and Cinema (OFFERED IN ITALIAN)
Cross-listed: ITAL 380.401
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
Children play a prominent role in Italian Neorealism. We will examine the cultural construction of childhood after the World War 2, drawing on the movies of Rossellini, De Sica, Pasolini, Fellini, Benigni, Amelio, Giordana, as well as on the novels of Calvino, Elsa Morante, Gianni Rodari. The course will investigate the issue of childhood exploring the interaction between adult and child characters. We will discuss the relationship between authority and freedom, history and  creativity, tradition and innovation, normalization and difference, experience and innocence. The class will be taught in Italian. The reading material and the bibliographical references will be provided in a course reader. Further material will be presented in class. Requirements include class attendance, preparation, and participation, a series of oral responses, and a final oral presentation.
TR 1:30 - 3:00
FINOTTI, Fabio

CINE 340.402 - Visible Cities (OFFERED IN ITALIAN)
Cross-listed: ITAL 380.402
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
From Magna Graecia’s poleis, to the Roman urbes, from the medieval “Comuni” (city states) to “Seafaring Republics”, from the Early modern ideal cities to the modern metropolis, Italian cities carry a tradition of their own uniqueness and marked identity. As repositories of memory they have always fascinated the gaze of artists, writers, filmmakers and cultural historians. This course will explore Italian cities in their “textual” complexity, rooted in landscapes, bodies, language and imagination. Turin, Trieste, Milan, Genova, Venice, Bologna, Florence, Rome, Naples and Palermo will be the destinations of this “grand tour” into the Italian cityscapes, as they appear fictionalized in 20th century Italian literature and cinema. After investigating the city as a trope through the lens of Italo Calvino’s “Invisible Cities,” we will venture into the different narratives of these cities as seen through the eyes of high modern and contemporary writers, movie directors, painters and cartoonists, photographers and songwriters. We will analyze their own peculiar geographies of identity, linguistic enclaves, maps of inequalities, fabrics of memories. All readings and class discussions will be in Italian.The pre-requisite for this course is Italian 215 or an equivalent course taken abroad.
MWF 1:00 - 2:00
BENINI, Stefania

CINE 350 - Latin American Avant-Garde (OFFERED IN SPANISH)
Cross-listed: SPAN 396
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
After the devastation of the First World War, artists all over the world responded to the new era’s changing political and social geography with rebellious and shocking artistic movements that embraced the idea of “arte por el arte”: art for art’s sake. During this period the arts flourished as a political and social force, and many of Latin America’s most renowned writers and poets—including Vicente Huidobro, César Vallejo, Pablo Neruda, Jorge Luis Borges, and many more—brought and sought inspiration to and from Europe as they contributed to movements that utterly rejected traditional artistic ideals and modes of production. In this course we will study Latin America’s participation in such “avant-garde” movements as Futurism, Expressionism, Dada, and Surrealism, as well as other movements particular to Latin America like Creationism and Ultraism. This course will examine films, works of art, and especially the poetry and political and artistic manifestos of an era that marks the beginning of modern Spanish America’s involvement and influence within the international artistic scene. This class will be conducted entirely in Spanish.
MWF 11:00 - 12:00
AUSTIN, Elisabeth

CINE 352 - The Devil's Pact in Literature, Music and Film
Cross-listed: GRMN 256
This course fulfills the Arts & Letters Sector (ALL CLASSES)
For centuries the pact with the devil has signified humankind's desire to surpass the limits of human knowledge and power. From the age of Martin Luther to the time of Mick Jagger, from Marlowe and Goethe to key Hollywood films, the legend of the devil's pact continues to be useful for exploring our fascination with forbidden powers.
MW 12:00 - 1:00
RICHTER, Simon

CINE 365.602 - Fate and Chance Literature and Film
Cross-listed: RUSS 432
This course fulfills Arts & Letters Distribution (C'09 AND PRIOR)
Be a winner – manage all your situations and don’t let a pure chance to govern your life! With a chain of literary characters as a vivid illustration, you will explore a mysterious world of fate and chance and learn about various interpretations of the forces ruling human life. Slavic and Greek mythology, as well as folklore and modern literary works of Russian and Western writers and cinematographers will assist you in your journey to the world of supernatural. Screenings will include Zeffirelli's and Luhrman's Romeo and Juliet.
T 5:30 - 8:30
ZUBAREV, Vera

CINE 492 - Lesbian, Gay, Bisexual, & Transgender Representation in Popular Media
Cross-listed: COMM 430; GSOC 430
This class investigates the history of LGBT representation in a range of popular media since the 1960s—in film, television, music, pornography, the internet, video games, and so on. We will consider on-going debates about queer images, including stereotypes, camp, and the value and limits of “positive images.” The class includes a strong emphasis on independent research: students will learn how to develop and carry out an original qualitative research project throughout the semester.
M 2:00 - 5:00
SENDER, Katherine

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CINE 061 - Film Video I
Cross-listed: FNAR 061
This class offers film and video production as a means of personal expression. Students will be assisted in translating ideas into movies. Super-8 and/or digital video equipment will be provided; students must provide film stock, processing and/or video tapes.
Several section and times. Please check the registar.

CINE 062.401 - Film Video II
Cross-listed: FNAR 062.401
Film/Video II is a hands-on course in super 8mm and/or digital video moviemaking in which each student plans and creates three short productions. Techniques learned in FNAR 061 will be refined while exploring the role of sound and aesthetics in the filmmaking/video process. Auditors not permitted.
R 7:30 - 10:30
BUCK, Paul

CINE 062.402 - Film Video II
Cross-listed: FNAR 062.402
Film/Video II is a hands-on course in super 8mm and/or digital video moviemaking in which each student plans and creates three short productions. Techniques learned in FNAR 061 will be refined while exploring the role of sound and aesthetics in the filmmaking/video process. Auditors not permitted.
W 4:30 - 7:30
HIRONAKA, Nadia

CINE 065 - Cinema Production
Cross-listed: FNAR 065
This course focuses on the practice and theory of producing narrative based cinema. Members of the course will become the film crew and produce a short digital film. Workshops on producing, directing, lighting, camera, sound and editing will build skills necessary for the hands-on production shoots. Visiting lecturers will critically discuss the individual roles of production in the context of the history of film.
T 1:30 - 4:30
VAN CLEVE , Emory

CINE 067 - Advanced Video Projects
Cross-listed: FNAR 067
This course presents students with an advanced level investigation into various forms of digital video projects as well as non-traditional presentation formats. Structured to create a more focused environment for individual projects, students will present and discuss their work in a series of group critiques. Lecture topics, screenings, and technical demonstrations will vary depending on students’ past history as well as aesthetic and theoretical interests.
T 1:00 - 4:00
HIRONAKA, Nadia

CINE 116.401 - Screenwriting
Cross-listed: ENGL 116.401
This is a workshop-style course for those who have thought they had a terrific idea for a movie but didn't know where to begin. The class will focus on learning the basic tenets of classical dramatic structure and how this (ideally) will serve as the backbone for the screenplay of the aforementioned terrific idea. Each student should, by the end of the semester, have at least thirty pages of a screenplay completed. Classic and not-so-classic screenplays will be required reading for every class, and students will also become acquainted with how the business of selling and producing one's screenplay actually happens. Students will be admitted on the basis of an application by email briefly describing their interest in the course to <kathydemarco@writing.upenn.edu>.
T 1:30 - 4:30
DE MARCO Kathleen

CINE 116.601 - Screenwriting
Cross-listed: ENGL 116.601
This course will look at the screenplay as both a literary text and blue-print for production. Several classic screenplay texts will be critically analyzed (i.e. REBEL WITHOUT A CAUSE, CHINATOWN, PSYCHO, etc.) Students will then embark on writing their own scripts. We will intensively focus on: character enhancement, creating "believable" cinematic dialogue, plot development and story structure, conflict, pacing, dramatic foreshadowing, the element of surprise, text and subtext and visual story-telling. Students will submit their works-in-progress to the workshop for discussion. "Students interested in taking the class should submit a brief writing sample to Professor Marc Lapadula, Department of English, 127 Fisher-Bennett Hall, 3340 Walnut Street/6273. Also, include your name, last four digits of your social security number, E-mail, address where you can be reached. Permit is required from the instructor."
M 5:00 - 8:00
LAPADULA, Marc

CINE 130.401 - Advanced Screenwriting
Cross-listed: ENGL 130.401
This is a workshop-style course for students who have completed a screenwriting class, or have a draft of a screenplay they wish to improve. Classes will consist of discussing student's work, as well as discussing relevant themes of the movie business and examining classic films and why they work as well as they do. Classic and not-so-classic screenplays will be required reading for every class in addition to some potentially useful texts like /What Makes Sammy Run?/ Students will be admitted on the basis of an application by email. Please send a writing sample (in screenplay form), a brief description of your interest in the course and your goals for your screenplay, and any relevant background or experience. Applications should be sent to <kathydemarco@writing.upenn.edu>.
W 2:00 - 5:00
DE MARCO Kathleen

CINE 130.402 - Advanced Screenwriting
Cross-listed: ENGL 130.402
Writing for the screen has been called an "architectural" skill. The writer creates a narrative by framing a structure. This course will be a workshop in which writers can try out this very particular and peculiar craft. (Along with sharing gossip with professional screenwriters and discussing good movies!). At several points during the semester, students will meet with visiting screenwriters, who will also make public presentations at the Kelly Writers House. Note: This is a special writing workshop with an eminent screenwriter. Students wanting to enroll should consult Mark Rosenthal's faculty bio here: http://writing.upenn.edu/cw/faculty.html. Students will be admitted on the basis of an application: by email, send a writing sample, brief description of your interest in the course, and any relevant background or experience. Applications should be sent to screenwriting@writing.upenn.edu.
R 1:30 - 4:30
ROSENTHAL, Mark

CINE 261 - Computer Animation
Cross-listed: FNAR 267
Through a series of studio projects, this course will focus on 2D and 3D computer animation. Emphasis is placed on time-based design and storytelling by developing new sensitivities to movement, cinematography, editing, sound, color and lighting. Compositing software covered in the course will be used to combine 2D graphics, 3D animation and sound.
Recommended Materials: Wacom Pen.
TR 4:30 - 7:30
GOLDSTEIN, J.

 

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