Spring 2014 Courses

  • The College Catalogue has a class finder tool to search for courses by title, instructor, department, and more.
  • Login to Blackboard. Instructional materials are available on a course-by-course basis.
FILM 1152. Berlin: Sin City, Divided City, City of the Future.
Jill Smith.
An examination of literary, artistic, and cinematic representations of the city of Berlin during three distinct time periods: the “Roaring 20s,” the Cold War, and the post-Wall period. Explores the dramatic cultural, political, and physical transformations that Berlin underwent during the twentieth century and thereby illustrates the central role that Berlin played, and continues to play, in European history and culture, as well as in the American cultural imagination. For each time period studied, compares Anglo-American representations of Berlin with those produced by German artists and writers, and investigates how, why, and to what extent Berlin has retained its status as one of the most quintessentially modern cities in the world. No knowledge of German is required.
FILM 2202. Film History II, 1935 to 1975.
Tricia Welsch.
A consideration of the diverse production contexts and political circumstances influencing cinema history in the sound era. National film movements to be studied include Neorealism, the French New Wave, and the New German Cinema, as well as the coming of age of Asian and Australian film. Also explores the shift away from studio production in the United States, the major regulatory systems, and the changes in popular film genres. Attendance at weekly evening screenings is required.
FILM 2224. The Films of Alfred Hitchcock.
Tricia Welsch.
Considers the films of Alfred Hitchcock from his career in British silent cinema to the Hollywood productions of the 1970s. Examines his working methods and style of visual composition, as well as consistent themes and characterizations. Of particular interest is his adaptation of Daphne du Maurier’s Rebecca as a way of exploring the tensions between literary sources and film, and between British and American production contexts. Ends with a brief look at Hitchcock’s television career and his influence on recent film. Attendance at weekly evening screenings is required.
FILM 2230. The Reality Effect: Documentary Film.
Sarah Childress.
Examines documentary history, theory, criticism, and practice. From the “actuality” films of the Lumière brothers to the theatrical “reality” of Errol Morris, documentaries work to persuade audiences to see the world in particular ways. Focuses on the debates that surround nonfiction narrative films, especially their contentious claims to represent reality, by examining films that work with and against notions of objectivity, subjectivity, power, knowledge, and truth. Explores the textual strategies that create documentary films’ all-important “reality effect.” Attendance at weekly evening screenings is required.
FILM 2254. Topics in Chinese Cinema.
Shu-chin Tsui.
Introduces students to films produced in the People’s Republic of China, Taiwan, and Hong Kong. Places national cinema in a transnational framework and explores how cinema as a sign system constructs sociocultural and aesthetic meanings. Students will benefit most by bringing both an open mind toward non-Western cultural texts, and a critical eye for visual art.
FILM 2453. The Irish Story in All Forms.
Marilyn Reizbaum.
Considers Irish writing and film and the way they intersect in the emergence into and away from the modern. Likely topics include linguistic and national dispossession; the supernatural or surreal, pastoral, and urban traditions; the Celtic Twilight versus Modernism; Celtic Tiger vs globalism. Authors and directors may include Sheridan Le Fanu, Yeats, Joyce, Seamus Heaney, Eavan Boland, Neil Jordan, Ken Loach, John Ford, Pat Murphy, Martin McDonagh.
FILM 2553. Italy's Cinema of Social Engagement.
Allison Cooper.
An introduction to Italian cinema with an emphasis on Neorealism and its relationship to other genres, including Comedy Italian Style, the Spaghetti Western, the horror film, the "mondo" (shock documentary), and mafia movies, among others. Readings and discussions situate films within their social and historical contexts, and explore contemporary critical debates about the place of radical politics in Italian cinema (a hallmark of Neorealism), the division between art films and popular cinema, and the relevance of the concept of an Italian national cinema in an increasingly globalized world. No prerequisite required. Taught in English (films screened in Italian with English subtitles).
FILM 3011. African American Film.
Elizabeth Muther.
Explores a spectrum of films produced since 1950 that engage African American cultural experience. Topics may include black-white buddy movies, the L.A. Rebellion, blaxploitation, the hood genre, cult classics, comedy and cross-dressing, and romance dramas. Of special interest will be the documentary impulse in contemporary African American film; gender, sexuality, and cultural images; the politics of interpretation—writers, filmmakers, critics, and audiences; and the urban context and the economics of alienation. Extensive readings in film and cultural theory and criticism.