Spring 2013 Courses

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104. From Page to Screen: Film Adaptation and Narrative
Aviva Briefel T 11:30 - 12:55, TH 11:30 - 12:55 Searles-315
Explores the topic of “adaptation,” specifically, the ways in which cinematic texts transform literary narratives into visual forms. Begins with the premise that every adaptation is an interpretation, a rewriting/rethinking of an original text that offers an analysis of that text. Central to class discussions is close attention to the differences and similarities in the ways in which written and visual texts approach narratives, the means through which each medium constructs and positions its audience, and the types of critical discourses that emerge around literature and film. May include works by Philip K. Dick, Charles Dickens, Howard Hawks, Alfred Hitchcock, Stanley Kubrick, David Lean, Anita Loos, Vladimir Nabokov, and Ridley Scott.

222. Images of America in Film
Patricia Welsch T 11:30 - 12:55, TH 11:30 - 12:55 Sills-Smith Auditorium
Explores American culture and history by looking at studio- and independently-produced films. Topics include sex and race relations; ethnicity and the American Dream; work and money and their role in self-definition; war and nostalgia; and celebrity and the role of Hollywood in the national imagination. Attendance at weekly evening screenings is required.

235. Not Just Cowboys and Indians: Examining Native Americans in Film and Media Beyond Hollywood
Kelly Fayard T 1:00 - 2:25, TH 1:00 - 2:25 Sills-Smith Auditorium
Begins with an examination of the influence Hollywood has had on dominant images of Native Americans. Examines the construction of these images, their consumption, and their influence. Compares these non-Native films with images constructed by Native filmmakers. Analyzes popular films such as Dances with Wolves, Little Big Man, Last of the Mohicans, among others, in contrast to Native films such as Smoke Signals, Atanarjuat (The Fast Runner), and Reel Injun, along with Internet media from a variety of sources to tease out stereotypes and differences.

266. Chinese Women in Fiction and Film
Shu-chin Tsui M 1:00 - 2:25, W 1:00 - 2:25 HL-311 (third floor)
Approaches the subject of women and writing in twentieth- and early twenty-first-century China from perspectives of gender studies, literary analysis, and visual representations. Considers women writers, filmmakers, and their works in the context of China’s social-political history as well as its literary and visual traditions. Focuses on how women writers and directors negotiate gender identity against social-cultural norms. Also constructs a dialogue between Chinese women’s works and Western feminist assumptions.

310. Gay and Lesbian Cinema
Patricia Welsch T 2:30 - 3:55, TH 2:30 - 3:55 Sills-Smith Auditorium
Considers both mainstream and independent films made by or about gay men and lesbians. Four intensive special topics each semester, which may include classic Hollywood stereotypes and euphemisms; the power of the box office; coming of age and coming out; the social problem film; key figures; writing history through film; queer theory and queer aesthetics; revelation and revaluations of film over time; autobiography and documentary; the AIDS imperative. Writing intensive; attendance at evening film screenings is required.

317. Almodóvar, Before and After: Reading Spanish Film
Elena Cueto-Asin M 2:30 - 3:55, W 2:30 - 3:55 Sills-205
Takes the cinema of Pedro Almodóvar as a frame to examine Spanish cinema from the past to the present. Connects the originality of Almodóvar, representative of the film of the democratic period inaugurated in the late-1970s, back to the techniques and genres used by earlier filmmakers, especially under the Franco dictatorship that critiqued or supported the regime. Traces his influence forward through films of recent decades by directors whose work links Spanish cinema to international trends. Taught in English. Meets with Spanish 317. Not open to students who have credit for Spanish 327.