courses 2012 spring

CORE REQUIREMENTS COURSES

CINE 101.601 - World Film History to 1945
ARTH 108; ENGL 091
James Fiumara
TR 5-6:30pm | ANNS 111
This course surveys the history of world film from cinema’s precursors to 1945. We will develop methods for analyzing film while examining the growth of film as an art, an industry, and a political instrument. The course begins with the emergence of film technology and early film audiences. We will then look at the rise of narrative film and the birth of Hollywood before turning to a number of national film industries that flourished after World War I, including French, Italian, Soviet, German, Japanese, Chinese, and Indian film. Along the way, we will look at different genres and topics including African-American independent film during the silent era, animation, ethnographic and documentary film, censorship, and the coming of sound. We conclude with the transformation of several film industries into propaganda tools during World War II (including the Nazi, Soviet, and US film industries). There are no prerequisites. Requirements include a short essay, a research project, a midterm, and a final. Fulfills the Arts and Letters Sector (All Classes).

CINE 102.401 - World Film History, 1945-present
ARTH 109; ENGL 092
Timothy Corrigan
MW 2-3:30pm | FBH 401
Focusing on movies made after 1945, this course allows students to learn and to sharpen methods, terminologies, and tools needed for the critical analysis of film. Beginning with the cinematic revolution signaled by the Italian Neo-Realism (of Rossellini and De Sica), we will follow the evolution of postwar cinema through the French New Wave (of Godard, Resnais, and Varda), American movies of the 1950s and 1960s (including the New Hollywood cinema of Coppola and Scorsese), and the various other new wave movements of the 1960s, 1970s and 1980s (such as the New German Cinema). We will then selectively examine some of the most important films of the last two decades, including those of U.S. independent film movement and movies from Iran, China, and elsewhere in an expanding global cinema culture. There will be precise attention paid to formal and stylistic techniques in editing, mise-en-scene, and sound, as well as to the narrative, non-narrative, and generic organizations of film. At the same time, those formal features will be closely linked to historical and cultural distinctions and changes, ranging from the Paramount Decision of 1948 to the digital convergences that are defining screen culture today. There are no perquisites. Requirements will include readings in film history and film analysis, an analytical essay, a research paper, a final exam, and active participation. Fulfills the Arts and Letters Sector (All Classes).
Syllabus

CINE 103.401 - Intro to Film Theory
ARTH 107; COML 116; ENGL 095
Meta Mazaj
TR 10:30am-12pm | FBH 401
This course offers students an introduction to the major texts in film theory across the 20th and 21st centuries. The course gives students an opportunity to read these central texts closely, to understand the range of historical contexts in which film theories are developed, to explore the relationship between film theory and the major film movements, to grapple with the points of contention that have emerged among theorists, and finally, to consider: what is the status of film theory today? This course is required for all Cinema Studies majors, but is open to all students, and no prior knowledge of film theory is assumed. Requirements: Close reading of all assigned texts; attendance and participation in section discussions; 1 midterm exam; 1 take-home final exam.
Syllabus

ELECTIVE COURSES

CINE 015.401 - Copyright and Culture
COML 016; ENGL 015
Peter Decherney
TR 1:30-3pm | VANP 302
In this course, we will look at the history of copyright law and explore the ways that copyright has both responded to new media and driven art and entertainment. How, for example, is a new medium (photography, film, the Internet, etc.) defined in relation to existing media? What constitutes originality in collage painting, hip hop music, or computer software? What are the limits of fair use? And how have artists, engineers and creative industries responded to various changes in copyright law? A major focus of the course will be the lessons of history for the current copyright debates over such issues as file sharing, online video, and remix culture.
Syllabus

CINE 062- Video II
FNAR 062
401 | J. Perlin | W 2-5pm | ADDM 207
402 | Ellen Reynolds | T 1:30-4:30pm | ADDM 207
Video II offers opportunities to further explore the role of sound, editing and screen aesthetics. Through a series of three video projects and a variety of technical exercises, students will refine their ability to articulate more complex and creative projects in digital cinema. In addition, advanced level production and post-production equipment is introduced in this course.

CINE 066.401 - Sound Seminar: Sonic Measures
FNAR 066
T. Adkins
R 10am-1pm | ADDM 207
Sonic Measures is a comprehensive introduction to the theory and practice of digital audio design, including sound for video, sound installation, composition, and sound art. Projects and demonstrations will familiarize students with all aspects of recording and synthesis of sound using Apple's Logic Pro software. Assignments will combine technical issues alongside an ongoing conceptual development individual to each student's interests. No musical knowledge needed.

CINE 075.401 - Image and Sound Editing
FNAR 075
David Novack & Nancy Novack
M 6-9pm | ADDM 207
This course presents an in-depth look at the storytelling power of image and sound in both narrative and documentary motion pictures. Students apply a theoretical framework in ongoing workshops, exploring practical approaches to picture editing and sound design. Students edit scenes with a variety of aesthetic approaches, and create story-driven soundtracks with the use of sound FX, dialogue replacement, foleys, music and mixing. Students not only learn critical skills that expand creative possibilities, but also broaden their understanding of the critical relationship between image and sound.

CINE 100.401 - Shakespeare and Film
COML 117; ENGL 101
Timothy Corrigan & Ania Loomba
MW 10-11am (plus REC) | FBH 419
This class is designed for students interested in exploring Shakespeare's dramatic art and cinematic adaptations of Shakespeare’s plays. We will read seven of Shakespeare’s plays in order to explore how they ask profound questions about power, gender relations, nationalism, race, sexuality, and freedom. We will do so by examining their historical context as well as their form, their language, and how they entertain their audiences. And we will do so by placing them alongside some of their most vibrant cinematic appropriations. To “appropriate” is to make your own, and that process changes what is being appropriated. Shakespeare has been inspiring film makers all over the world since the very beginning of film technology. There are now hundreds of films that adapt Shakespeare’s plays into different languages, and varied social worlds. Some of these are masterpieces of cinema in their own right, others better known as adaptations. Some are celebrated for their faithfulness to the Bard, others criticized as violating the spirit of Shakespeare. Still others are worth watching precisely because in bending the original they alert us to aspects of Shakespeare that we may not have paid attention to, or they tell us something new about our own world. The marriage of cinema and Shakespeare changes both, and studying the exchange means learning about the distinctions of literature and film and the grounds they share. Classes will consist of two lectures and one recitation per week. Requirements: regular attendance, participation in recitation, three short response papers (1-2 pages), a midterm, and a final. You will be required to watch selected films each week, all of which will be on reserve at Rosengarten. No prerequisites needed. Fulfills the Arts and Letters Sector (All Classes).
Syllabus

CINE 115.401 - Youth Culture in Iran
COML 114; NELC 115
Blake Atwood
TR 10:30am-12pm | WILL 29
The Islamic Republic of Iran sought to create for its citizens a new Islamic subjectivity, and today’s young people, all born after the Revolution of 1978-79, were the targets of that process. By probing the political, cultural, and artistic interests that the young people in Iran have engaged since the Revolution, we might evaluate the effectiveness of that project. To what extent has the Iranian youth conformed to or resisted the kind of citizenship that its government determined for it? Do we sense ambivalence or apathy towards that subjectivity? This course will provide students with the materials necessary to construct an ethnographic portrait of contemporary Iranian youth. Examining a wide range of sources, including films, documentaries, blogs, graffiti, photography, memoirs, music videos, and novels, we will specifically attempt to locate and explore the various languages – visual, musical, written, and spoken – that have emerged alongside these youth cultures.

CINE 116 - Screenwriting
ENGL 116
401 | Kathleen DeMarco Van Cleve | M 2-5pm | FBH 322
402 | Keir Politz | R 4:30-7:30pm | FBH 322
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 the instructor.

CINE 125.601 - Adultery Novel
COML 127; GSWS 125; RUSS 125
M. Pagan-Mattos
T 6-9pm | FBH 244
Description: TBA

CINE 130.401 - Advanced Screenwriting
ENGL 130 
Kathleen DeMarco Van Cleve
W 2-5pm | CPCW 111
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 Kathleen DeMarco Van Cleve. <kathydemarco@writing.upenn.edu>.

CINE 137.401 - Film Sound and Film Music
MUSC 081
Carolyn Abbate
R 2-5pm | MUSB CONF
This course is an introduction to classic film scores, music written for movies from the late 1920s to the 1960s. At the same time, we will deal with film sound in general: the technology that made silent movies "talk," the rules and tricks of sound and music production for film, and the scientific and aesthetic theories behind different approaches to the soundtrack. One goal of the course is for students to learn to listen analytically to what is heard on a soundtrack. Another is to get a sense for the ways that European classical music (opera and symphony) influenced and continues to influence film composers. Students do not need to read music for this course: we deal with film music on an aural basis and look at musical notation occasionally. Some musical background (for example, playing an instrument) could be helpful.

CINE 159.401 - Voices of Israel in Film and Literature
COML 282; JWST 102; NELC 159
Nili Gold
TR 1:30-3pm | WILL 202
This course will listen and respond to previously unheard Israeli literary and cinematic expressions of "others," such as new immigrants, women, Arabs, gays, orthodox Jews, first and second generations of Holocaust survivors, and those of Middle Eastern descent. Their varied voices, which deviate from the central narrative, were allowed to be heard in Israeli culture only in the late 20th century with the debates over Postmodernist attitudes and practices. The Zionist super-narrative dominated Israeli literature and film at its inception. Authors and directors were predominantly Israeli-born (or educated), Ashkenazi (of European descent) males who tackled the nationalistic, territory- based aspirations of the people. Now that the "periphery" has invaded the "center," a cacophony of voices, a kaleidoscope of images, replaces the mainstream ideological search for a Zionist utopia. We will analyze this phenomenon through the different languages of film, prose and poetry, and examine how postmodernist and subversive writers and directors use symbol and metaphor, color and light, close-up and flashback to capture an outsider's experience.

CINE 165.401 - Russian and East European Film
RUSS 165; SLAV 165
Vlad Todorov
MW 2-3:30pm | CAST A17
The purpose of this course is to present the Russian and East European contribution to world cinema in terms of film theory, experimentation with the cinematic language, and social and political reflex. We discuss major themes and issues such as: 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 World War II; repression, resistance and conformity under such a system; legal and illegal desires; the nature of the authoritarian personality, the mind and the body of homo sovieticus; sexual and political transgression; treason and disgrace; public degradation and individual redemption; the profane and the sublime ends of human suffering and humiliation; the unmasking of the official "truth" as a general lie.

CINE 166.401 - Arab-Israeli Conflict Through Literature and Film
HIST 166
Eve Troutt-Powell
TR 10:30am-12pm | COLL 314
This course will explore the origins, the history and, most importantly, the literary and cinematic art of the struggle that has endured for a century over the region that some call the Holy Land, some call Eretz Israel and others call Palestine. We will also consider religious motivations and interpretations that have inspired many involved in this conflict as well as the political consequences of world wars that contributed so greatly to the reconfiguration of the Middle East after the fall of the Ottoman Empire, and after the revelations of the Holocaust in Western Europe. While we will rely on a textbook for historical grounding, the most significant material we will use to learn this history will be films, novels and short stories. Can the arts lead us to a different understanding of the lives lived through what seems like unending crises?

CINE 201.401 - Fright Night: The Ethics of Horror on Film
COML 201; ENGL 291
Mia Mask
MW 2-3:30pm | FBH 222
This is an advanced seminar in American horror cinema. It facilitates in-depth analysis and close readings of classic American horror films. This course explores the production, reception, aesthetics, politics and evolution of a genre. We begin with classic films of the 1930s & 40s. Next we examine Cold War politics and its influence on film culture. Landmark films responsible for shifts in the genre’s paradigm are considered and contextualized. We will read these films against the historical, political and industrial settings in which they were produced. The range of topics on the syllabus is necessarily limited, which means that your participation in discussions is essential. Please commit to attending class, being prepared to discuss each week’s topics and texts, and make use of the class email list. Our discussions of diverse, complex issues (i.e., race, class, gender, sexuality) will likely reveal differences of opinion, experience, and education. The work of Alfred Hitchcock, Roman Polanski, Brian DePalma, David Cronenberg and Mary Harron, among others, will be studied.

CINE 201.402 - Realism in Film
ARTH 290; COML 201
Leo Charney
M 2-5pm | FBH 224
This course examines the re-presentation of real life as an (the?) essential element of cinema, in both fiction and non-fiction films, from the earliest shorts of the Lumières in the 1890s through contemporary “mumblecore” and reality TV. Topics include German Expressionist and Kammerspiel films of the 1920s; French poetic realism of the 1930s; Italian neo-realism of the 1940s; Brazilian magical realism of the 1960s; American Direct Cinema documentaries of the 1960s; British social realism of the 1980s; Danish Dogme 95 films of the 1990s; American indies since 2002; and Romanian social realism since 2005. We will also explore such areas as the influential improvisational style of John Cassavetes films; the rise of the “mockumentary” and reality TV; the aesthetics of real time, long takes, and hyper-realism, especially in Warhol and Akerman; the role of realist style in themes of ethics and morality, especially in Kieslowski, Puiu, and the Dardennes; and alternative or experimental forms of realism. We will read such writers as Arnheim, Barthes, Baudrillard, Bazin, de Certeau, Derrida, Foucault, Jameson, Kael, Kracauer, and Metz, as well as examples of realist and magical realist fiction.

CINE 202.401 - Film Festivals
ARTH 292; COML 292; ENGL 292
Meta Mazaj
TR 1:30-3pm | FBH 201
This course is an exploration of multiple forces that explain the growth, global spread and institutionalization of international film festivals. The global boom in film industry has resulted in an incredible proliferation of film festivals taking place all around the world, and festivals have become one of the biggest growth industries. A dizzying convergence site of cinephilia, media spectacle, business agendas and geopolitical purposes, film festivals offer a fruitful ground on which to investigate the contemporary global cinema network. Film festivals will be approached as a site where numerous lines of the world cinema map come together, from culture and commerce, experimentation and entertainment, political interests and global business patterns. To analyze the network of film festivals, we will address a wide range of issues, including historical and geopolitical forces that shape the development of festivals, festivals as an alternative marketplace, festivals as a media event, programming and agenda setting, prizes, cinephilia, and city marketing. Individual case studies of international film festivals—Cannes, Berlin, Venice, Rotterdam, Karlovy Vary, Toronto, Sundance among others—will enable us to address all these diverse issues but also to establish a theoretical framework with which to approach the study of film festival. For students planning to attend the Penn-in-Cannes program, this course provides an excellent foundation that will prepare you for the on-site experience of the King of all festivals.

CINE 202.403 - Modern Science Fiction Film
ARTH 292; COML 292; ENGL 292
Chris Donovan
TR 3-4:30pm | FBH 201
Science Fiction has been a cinematic genre for as long as there has been cinema—at least since Georges Melies’s visionary Trip to the Moon in 1902. However, though science fiction films have long been reliable box office earners and cult phenomena, critical acknowledgement and analysis was slow to develop. Still, few genres reflect the sensibility of their age so transparently—if often unconsciously—or provide so many opportunities for filmmakers to simultaneously address social issues and expand the lexicon with new technologies. Given budgetary considerations and the appetite for franchises, science fiction auteurs face a difficult negotiation between artistic expression and lowest common denominator imperatives, the controversy over Terry Gilliam’s Brazil (1985) being perhaps the most infamous example. Nevertheless, many notable filmmakers have done their most perceptive and influential work in the scifi realm, including Gilliam, Ridley Scott, Steven Spielberg, David Cronenberg, James Cameron and Paul Verhoeven. This course will survey the scope of modern science fiction cinema, beginning with two films that inspired a rare wave of academic discourse, Scott’s Alien (1979) and Blade Runner (1982), which attracted postmodernists, feminists, and film historians interested in how the works both drew from earlier movements (German Expressionism, Noir), and inspired new ones (Cyberpunk). We will look at smaller, more independent-minded projects, such as Michel Gondry’s Eternal Sunshine of the Spotless Mind (2004) and Duncan Jones’ Moon (2009) as well as risky, massively budgeted epics such as Spielberg’s AI: Artificial Intelligence (2001) and Christopher Nolan’s Inception (2010).

CINE 215.601 - Indian Cinema and Society
GSWS 213; SAST 213
Ajay Raina
MW 6:30-8:30pm | WILL 5
Every day, over twelve million people go to the movies in India. Seated on planks of wood and on the floor, in air-conditioned movie palaces and open fields, the world's most avid cinema-goer watches the hundreds of films that roll out of the world's most prolific film industry. Our class will examine the pleasures of this cinema that has frequently been dismissed for being saccharine, melodramatic, and escapist. We will be watching and discussing a cluster of Hindi films made in Bombay (or Bollywood, as it is often called). We will pay particular attention to the manner in which these films embody public fantasies--those of gender and masculinity, religion and nation, sexuality and the state, family and friends--in an effort to examine how Bombay's blockbusters have dealt with India's preoccupation with its emerging modernity and its increasing global economic prowess. Screenings are scheduled for Wednesday evenings and may sometimes run over the scheduled course time.

CINE 220.401 - 20th Century Chinese Literature and Film
EALC 125
Xiaojue Wang
TR 1:30-3pm | WILL 421
This course introduces students to the history, themes, genres, and major works of modern Chinese literature and cinema in three major geopolitical categories: Mainland China, Taiwan, and Hong Kong. Chinese literary and visual imaginations have been embroiled in complex circumstances such as the rise of nationalism, Chinese revolutions, the pursuit of modernization, political upheavals, collective desires to imagine and reinvent the cultural past, breakneck economic development, and global circulations of image culture. By examining a wide range of key literary and filmic texts, we will explore the following questions: What constitutes Chinese modernity or modernities? How has cultural/national identity of “Chinese” been conceived and negotiated? How have literature and film become social expressions during the 20th century? All readings and screenings are in English or English translation. No knowledge of Chinese is required to take this course.

CINE 240.401 - Italian History on Screen
COML 280; ITAL 204
Stefania Benini
TR 10:30am-12pm | DRLB 2C2
How has our image of Italy arrived to us? Where does the story begin and who has recounted, rewritten, and rearranged it over the centuries? In this course, we will study Italy’s rich and complex past and present. We will carefully read literary and historical texts and thoughtfully watch films in order to attain an understanding of Italy that is as varied and multifaceted as the country itself. Discussions and readings will allow us to examine the problems and trends in the political, cultural and social history from ancient Rome to today. We will focus on: the Roman Empire, Middle Ages, Renaissance, Unification, Turn of the Century, Fascist era, World War II, post-war and contemporary Italy. Students will independently view one film per week, available at Rosengarten Reserve. Film screenings will also be scheduled for those that prefer to watch the movies as a class. All students are expected to see all films and be prepared to participate in in-class discussion as well as to write journal entries. All readings are also required and students are expected to read carefully, prepare specific questions to share with the class and contribute thoughtfully to their own journal entries and time lines.

CINE 240.402 - Blood, Sweat & Pasta
ITAL 288
Frank Pellicone
TR 3-4:30pm | HARR M20
Popular culture frequently serves a bounteous spread of representations of Italian-Americans to an audience hungering for more. In this course we will explore historic events, social conditions, aesthetic trends, and political motivations behind the proliferation of ruthless gangsters, lovable buffoons, irresistible lovers, and claustrophobic families comprising the pantheon of Italian-Americans images of our shared American consciousness. To understand the rise of these popular stereotypes, and, perhaps, to dismantle them we will read novels by authors such as Pascal D'Angelo (Son of Italy), John Fante (Ask The Dust); Mario Puzo (The Fortunate Pilgrim ); Pietro di Donato (Christ in Concrete); Jerre Mangione (Mount Allegro); Helen Barolini (Umbertina), and Francine Prose (Household Saints.) We will also read Albert Innaurato’s comedic play (Gemini) and selected poetry of John Ciardi. In addition to literary analysis, we will discuss representation of Italian-Americans in American cinema and television, and films such as The Godfather, Saturday Night Fever, Rocky, Moonstruck, My Cousin Vinny, Raging Bull, Big Night, and Radio Days, as well as episodes of television shows such as The Jersey Shore, Friends, The Golden Girls The Sopranos, and Everybody Loves Raymond.

CINE 250.401 - Nazi Cinema
COML 269; GRMN 257
Catriona MacLeod
TR 10:30am-12pm | MCNB 286-7
Description: TBA

CINE 272.401 - Asians in Hollywood
ASAM 202; ENGL 272
Josephine Park
TR 10:30am-12pm | FBH 138
Description: TBA

CINE 275.401 - Russian History in Film
RUSS 275
Vlad Todorov
MW 3:30-5pm | FBH 138
This course draws on fictional, dramatic and cinematic representations of Russian history based on Russian as well as non-Russian sources and interpretations. The analysis targets major modes of imagining, such as narrating, showing and reenacting historical events, personae and epochs justified by different, historically mutating ideological postulates and forms of national self-consciousness. Common stereotypes of picturing Russia from "foreign" perspectives draw special attention. The discussion involves the following themes and outstanding figures: the mighty autocrats Ivan the Terrible, Peter the Great, and Catherine the Great; the tragic ruler Boris Godunov; the brazen rebel and royal impostor Pugachev; the notorious Rasputin, his uncanny powers, sex-appeal, and court machinations; Lenin and the October Revolution; images of war; times of construction and times of collapse of the Soviet Colossus.

CINE 285.401 - Art and Business of Film
MGMT 253
Kathleen DeMarco Van Cleve & Emory Van Cleve
R 1:30-4:30pm | FBH 244
The course will explore how a screenplay is conceptualized and developed, the role of agency relationships in the film business, and - casting as wide a net as possible - the financing, production, direction, distribution, exhibition and marketing of both independent and studio films. A combination of lectures by instructors and practitioners, case studies, film screenings, and consulting projects with independent and Hollywood creators, packagers, financiers, exhibitors, distributors and publicists will illustrate the relationship between the art of film and the business of film. Guests will include screenwriters, agents, producers, directors, distributors, film festival curators and film critics. In short, we will try to cover all aspects of making a film, and explore that often-tricky intersection of art and commerce.

CINE 289.401 - Mixed Media Animation
FNAR 289
Erinn Hagerty
MW 5-8pm | ADDM 106
This animation course fuses hands-on studio drawing, modeling, and cinematicprocesses with digital tools. Real world techniques such as stop-motion, claymation, hand-drawn and multi-plane animation will be practiced in the studio. Other techniques, such as keyframe animation, editing and blue-screen composition compositing will be practiced in the digital labs. Both production teams and individuals will create short mixed-media animations in form, material and time.

CINE 292.402 - Spike Lee: Filmmaker, Author, and Auteur
AFRC 295; COML 292; ENGL 292
Mia Mask
MW 3:30-5pm | FBH 201
This course is a seminar on the films by director Spike Lee. It facilitates in-depth analysis and close readings of a range of motion pictures directed by an individual working with other filmmaking professionals. Informed by auteur studies, the course explores the production, reception, aesthetics, politics and evolution of Sheldon Jackson Lee’s feature and documentary work. These films are situated in their political, cultural and industrial contexts. These contexts are central to our understanding of these films as palimpsests or texts upon which multiple meanings are layered. Rigorous discussions of diverse and complex issues (i.e., regarding race, gender, class, sexuality and nationality) will reveal differences of opinion, experience, and background. The interplay between identity and spectatorship will also be examined. Screenings, readings and presentations required.

CINE 292.601 - Woody Allen
COML 292; ENGL 292
Valerie Ross
W 5-8pm | FBH 201
This course explores the work of Woody Allen, a major figure in American humor and among our most influential, controversial, and prolific filmmakers. A pioneer of the American personal film, Allen makes movies steeped in film history, technically masterful, intellectually ambitious and, despite all this, popular. Exploring European art cinema, satirizing American culture, transforming a genre, or criticizing himself, Allen invariably smartens whatever genre he embraces. He has created great roles for women, reinvented romantic comedy and wised up the crime story. What he has done with the musical we’ll talk about some other time. Entwining the everyday with the philosophical, Allen's films explore the meaning of life, love, and death, the value of art, the silence of God. Our course will likely view twelve of his films, including Love and Death, Annie Hall, Manhattan, Match Point, and Vicky Cristina Barcelona. Coursework includes film screenings, readings, short weekly writings, and a collaborative screenwriting and filmmaking project.

CINE 294.401 - Carribbean Poetry and Cinema
COML 294; LALS 296; ROML 296
Rachel Ellis
MW 2-3:30pm | FBH 244
Arguably, the Caribbean’s best export continues to be the image of the islands themselves. One looks at a map and traces the curvature of possible pleasures from one warm, lush spot to another. What others from outside (and some from within) want, pay, destroy and exploit to see and what is experienced and seen by inhabitants is both the crisis and the bounty of the Caribbean – not just a blessing or curse, but something that invokes both. Throughout the 20^th century, Caribbean poets have worked within this crisis of the image, and Caribbean filmmakers have progressively joined the mimetic fray. What repeats from one island to another, and from poetic to cinematic form, is an intense concern about historic and contemporary representation. In this course, we will study the crisis and the fecundity of the image in 20^th Century Hispanophone, Anglophone and Francophone Poetry and Film, and will approach the arc of the Antilles with different desires. The final list of poets could include: Luis Palés Matos, Julia de Burgos, José Lezama Lima, Nancy Morejón, Reina María Rodriguez, Kamau Braithwaite, Derek Walcott, Aimé Césaire, Édouard Glissant and Monchoachi. The final list of films could include: Memorias del subdesarrollo/Memories of Underdevelopment (1968), La Carreta (1970), The Harder They Come (1972), Maluala (1979), Rue case-négres/Sugar Cane Alley (1983), Sucre Amer (1997), Suite Habana (2003), Biguine (2004), Heading South (2005) and Aliker (2009). Literary themes and movements (poesía negra, negritude, modernism, poetics of maroonage, conversational poetics) will be discussed alongside political and social shifts of the region (decolonization, revolution, nationalism, diaspora, globalization, sex tourism). We will discuss the registers of poetry and cinema in the study of the forms (prosody/poetic devices and cinematic devices, respectively). Students are welcome to write their final papers in English or Spanish.

CINE 294.601 - Cinema of the Cuban Revolution
COML 294; LALS 296; ROML 296
Rachel Ellis
R 4:30-7:30pm | FBH 201
Fidel Castro’s “Speech to Intellectuals on 30 June 1961” marks a watershed moment for the Cuban Revolution’s stance on the artistic obligation to the revolutionary state: “Within the Revolution everything. Outside of the Revolution nothing.” [“Con la Revolución, todo. Fuera de la Revolución, nada.”] This speech, however, also touches a deep concern of the arts: the relation of representation to a polity. The course will begin by reading Castro’s speech with Plato’s Book XIV of the Republic, in which the debate of artistic representation’s obligation to a polity also arises, and leads Plato to consider the exile of poets and theatre from the city. We will then move through major filmic works of the Revolution, but mindful of the referents of the historically precarious relation of the artist to the polity, exile’s specific meaning in Cuba’s context, the 1961 speech and the 1972 “Padilla Affair,” which landed various writers and artists, like José Lezama Lima and Virgilio Piñera, in precarious situations for being homosexual given the Revolution’s stance on homosexuality as counter-revolutionary. We will constantly question the relation of the intellectual and artist to the state, and their respective concerns about the image and linguistic representation. The list of films could include: PM (1961); Soy Cuba (1964); Memorias del subdesarrollo (1968); Maluala (1979); Cecilia (1981); Fresa y chocolate (1994); Before Night Falls (2000); Balseros (2002); and Suite Habana (2003). Philosophy and criticism on film and “the image” by Roland Barthes, Alain Badiou, Slavoj Zizek, Jacques Rancière and José Quiroga may be grouped with the viewings. We will also read snippets of literary texts that have relationships to the films “read” in the course. A course packet of these snippets (in English translation) and the critical essays will be provided by the instructor and will include parts of: Guillermo Cabrera Infante’s Tres Tristes Tigres/Three Trapped Tigers, Edmundo Desnoes’ Memorias del subdesarrollo/Memories of Underdevelopment, Reinaldo Arenas’ Antes de anochezca/Before Night Falls, and Ena Lucía Portela’s Cien botellas en una pared/One Hundred Bottles.

CINE 315.401 - Game Space
ARTH 315; COML 315
Alexander Galloway
TR 12-1:30pm | FBH 201
This course focuses on the expanded field of society and history at the new millennium, attempting to understand it as a “game space” pervading social networks, corporate board rooms, and battlefields alike. We begin with an examination of the concept of "play" using methods from literary criticism, cultural anthropology, poststructuralism, and cinema studies. For historical background we explore cybernetics and theories of postmodernity. The course will also consider the ramifications of informatic capture and the formation of coded objects and bodies. Themes will include simulation, social realism, and war games. The course will favor both close readings of specific games as well as social and cultural claims about the information age.

CINE 340.402 - Visible Cities
ITAL 380
Stefania Benini
TR 12-1:30pm | WILL 3
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, Genoa, 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. This class is conducted in Italian and the texts are read in the original.

CINE 353.401 - Advanced Projects in Animation
FNAR 353
Joshua Mosley
F 1-4pm | ADDM 106
Through a series of studio projects, this course will focus on advanced concepts in 3D computer animation and 2D compositing. The course will cover advanced techniques for rigging animated characters or structures, shading 3D forms, working with dynamic simulations, rendering projects, and compositing complex shots. Topics discussed will include production pipelines, motion-capture, and methods of developing ideas for animation. The schedule of the course will lend itself to allowing members to complete ambitious self-conceived animation projects.

CINE 359.401 - The Representation of the City
COLL 227; COML 359; HEBR 359; JWST 359
Nili Gold
TR 10:30am-12pm | WILL 215
This course focuses on the artistic ways in which the city, be it Jerusalem, Haifa or Tiberias, is represented in Israeli literature and film. The emotional and physical connection between the writer/drector and his/her place of dwelling is transformed in the literary work. The depiction of the city in prose and poetry relfects the inner world as well as ideological and political conflicts. The city may become a locus for national expression, of gender identification, or even of pure aesthetic enchantment. We will analyze how, through her portrayals of the Carmel Mountain and the Haifa bay, Yehudit Katzir expresses the complex bond with her mother; how Tel Aviv's streets enable Dahlia Ravikovitch and Meir Wieseltier to examine questions of loyalty; how the Jerusalems of A.B. Yehoshua and Yehuda Amichai feflect their loves and hatreds. This class is conducted in Hebrew and the texts are read in the original.

CINE 383.401 - French Road Movies
FREN 383
Michael Gott
TR 3:00-4:30pm | WILL 216
The French road movie has increasingly becoming a popular mode of expression, offering nuanced perspectives on contemporary French identity as well as on France’s position vis-à-vis its own shifting identity, its former colonies, a new “borderless” Europe, and the rest of the World. The goal of the course is to closely examine a genre often associated with “outsider” and even “outlaw” status and to consider how it is employed within the context of the contemporary French identity debates. Through film we will examine postcolonial and post-E.U. expansion identity factors, considering how road films offer compelling transnational counter-narratives to visions of French national identity. Starting with the maligned banlieue and the often contestatory cinema linked to it, the course will follow films as they branch out across France, Europe and the Maghreb. In the process we will become familiar with the conventions of the road movie, a genre both engaged with and thoroughly distinct from its North American counterpart. We will examine the genre’s penchant for “border crossing” and the nature of borders crossed in French films, both physical and metaphorical (be they gender-related, sexual, religious or cultural). Of particular interest is the use of music (and its link to identity) in the French road film, from rap to flamenco and beyond. The course will be conducted in English.

CINE 384.401 - Spanish Contemporary Documentary Film
SPAN 384
Luis Moreno-Caballud
TR 10:30am-12pm | WILL 320
This course will explore the classic tradition of Spanish documentary films paying special attention to the recent flourishing of the genre in the last two decades. We will study poetic and social documentaries in their socio-historical context. For this we will need to engage not only films and film theory texts, but also historical recounts of contemporary Spain, from dictatorship to democracy. We will also analyze the limits between documentary and fiction film, focusing on some works that have critically blurred the distinction between the two genres. This class is conducted in Spanish and the texts are read in the original.

CINE 385.401 - Spanish Civil War in Literature and Cinema
SPAN 386
Lídía Léon-Blázquez
MWF 1-2pm | TBA
From its very eruption, the Spanish Civil War (1936-1939) gained the attention of artists and writers, who saw it both as a national conflict and as the crossroad where the new geopolitics of the 20th century would be defined. Today, seventy years later, it continues being an unsolved trauma in Spanish society, producing images that reveal an ongoing need for collective catharsis. Over the course of time, these representations have changed considerably. We will examine them in their specific contexts, studying those which appeared during the conflict itself, after the advent of the Francoist dictatorship and the massive exile of dissidents, and with the later return to constitutional monarchy. We will consider the impact that the situation of emergency during war, the subsequent Francoist and Cold War censorships, and the later “pact of silence” undertaken by Spanish democracy had on these representations. Our discussions will cover narrative works, memoirs, poems, theatre plays, songs, works of art, documentaries and movies. This class is conducted in Spanish and the texts are read in the original.

CINE 390.401 - Spain and Latin America: Literary Fiction into Film
LALS 396; SPAN 390
Olga Guadalupe
MWF 11am-12pm | WILL 28
This course focuses on how a literary work is transformed into cinematic form when the camera lens replaces the reader’s eye. We will analyze narrative as a common feature in both media, the relations between verbal and visual language, and the impact of the written word and the film image. The study of the adaptation of the literary work into film and the comparative analysis of both texts will highlight the similarities and differences between literature and film as well as questions the possibilities and limitations of each art form. Literary and cinematic texts will be studied both as a means of artistic communication, paying close attention to the demands raised by the literary text for its visual translation, as well as a mirror and interpretation of Hispanic’s historical, social, and cultural reality. Course includes readings of Spanish and Latin American literary works covering all genres (drama, short stories, novel) and periods, from the Renaissance to Modern times. For their cinematic counterparts special emphasis is given to contemporary films from the 1980’s to the present. This class is conducted in Spanish and the texts are read in the original.

CINE 390.402 - Women in Hispanic Cinema
LALS 396; SPAN 390
Reyes Caballo-Márquez
MWF 1-2pm | WILL 318
This course will explore representations of women in Latin American and Spanish cinema over the last century. By looking into a wide variety of depictions of women (cabareteras, prostitutes, immigrants, historical figures, etc.), we will craft a history of women in Hispanic cinema. We will analyze how the portrayals of women change in different social, political, historical, and cultural contexts. What is Hispanic cinema telling us about how our societies imagine women and femininity? How have female roles evolved in a century of Hispanic cinema? How do different conceptualizations of gender affect female representations? The film selection for this course will include works by Pedro Almodóvar, María Luisa Bemberg, Icíar Bollaín, Luis Buñuel, Alberto Gout, Lucrecia Martel, Helena Taberna, and Fina Torres. This class is conducted in Spanish and the texts are read in the original.

CINE 390.403 - Subversive Screens: Marriage between Latin American Film & State Politics
LALS 396; SPAN 390
Michelle Farrell
TR 1:30-3pm | WILL 28
In this course, we will explore the close relationship between the film industries throughout Latin America and their respective states. Through film and theoretical readings we will begin with Cuba's first established ministry in 1959, which later became the Cuban Institute of Cinematographic Arts and Industry (ICAIC). The ICAIC served as a model to protect and foster both Cuban filmmakers and a critical Cuban audience. The ICAIC worked to bring films to the countryside for the first time in Cuban history while also opening a rare space for criticism of the revolution. Next we will explore "New Latin American Cinema" and the use of film to denounce dictatorships, cultural imperialism, and social inequalities throughout Latin America. These films were explicit protests and were often viewed illegally as works against the state. Since the 1990’s many countries have abandoned their national film projects and have chosen to work on co-productions with other Latin American and European countries. As of 2004 in Venezuela we see a return to a national film project, borrowing from the ICAIC and Cinema Novo past, to celebrate national identity and the current political agenda through film. We will conclude the course attempting to answer the following questions: What is revolutionary film? Can it come from within the state? Are state productions merely propaganda? Can we reach authentic representations of Latin America through film? This class is conducted in Spanish and the texts are read in the original.

GRADUATE COURSES

CINE 430.601 - Ethnic Conflict in Film
RUSS 430
Vlad Todorov
M 5:30-8:30pm | WILL 204
Forms a part of the CLPS Masters in Liberal Arts Program. This course studies the cinematic representation of civil wars, ethnic conflicts, nationalistic doctrines, and genocidal policies. The focus is on the violent developments that took place in Russia and on 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. The films include masterpieces such as Time of the Gypsies, Underground, Prisoner of the
Mountains, Before the Rain, Behind Enemy Lines, and others.

CINE 500.640 - World Cinema
COML 506; ENGL 492
Meta Mazaj
W 5-7:40pm | FBH 222
This is a course in international film cultures and world cinema, studying not only the diversity of film style and film cultures around the world, but also the theoretical concept of transnational or world cinema and its broader implications for film studies. While exploring the broad panorama of the history and form of films produced all over the world the course will set up important paradigms useful in approaching the topic as complex and wide as world cinema.As we engage with examples of contemporary cinema from Iran, Brazil, Spain, Japan, China, South Korea, India, Africa, as well as numerous transnational productions and diasporic cinema, we will also engage the question of which films/cinemas get labeled as “world cinema” and what determines entry into the sphere of world cinema.As film has become a part of an enormous multinational system consisting of TV networks, new technologies of production and distribution, and international co-production, the concept of “world cinema” has become increasingly important, even as its meaning is unsettled. We will use and study it not only to refer to national cinemas outside Hollywood but to assert the importance of placing the national within global perspectives, and to see how “world cinema” raises a distinct set of problems and critical approaches from national cinema studies.
Syllabus

CINE 500.641 - Copyright, Creativity, and New Media
COML 506; ENGL 492
Peter Decherney
T 5:30-8:10pm | FBH 138
This course examines the impact of copyright law on artists and creative industries. Looking at publishing, music, film, and software, we will ask how the law drove the adoption of new media, and we will consider how regulation influences artistic decisions. The course will cover both the history of copyright law and current debates, legislation, and cases. We will also follow major copyright stories in the news. Readings cover such diverse topics as the player piano, Disney films, YouTube, video game consoles, hip hop, the Grateful Dead, file sharing, The Catcher in the Rye, and many more. In addition to active participation, students will write papers on fair use, do in-class presentations, and write a research paper.
Syllabus

CINE 515.401 - Deleuze & Godard
ARTH 573; COML 570; ENGL 573; FREN 573
Alexander Galloway
T 3-6pm | FBH 141
This course concerns itself with cinema in its entirety. We focus on two signal works that attempt to synthesize the cinema into a single, century-long, media event: Gilles Deleuze's books Cinema 1 & 2 and Jean-Luc Godard's multi-episode cinematic work Histoire(s) du cinéma. For Deleuze cinema is both an autonomous epistemological phenomenon (films as pure thought) and an autonomous ontological phenomenon (films as pure being). By contrast Godard focuses on cinema's ability or inability to represent history, both the history of Europe during the twentieth century, frequently caught in the clutches of war, but also the history of movie-making itself. Additional readings and screenings will be drawn from similarly encyclopedic assessments of the last hundred years, including Slavoj Žižek's film The Pervert's Guide to Cinema, and Alain Badiou's book The Century.

CINE 540.401 - Digital Battlegrounds
COMM 540
Joseph Turow
R 3:00-5:00pm | ANNS 222
Students will read books and articles that address several key areas of social concern and confrontation around the web and mobile devices as well as the “over-the-horizon” topic of augmented reality. We will consider each topic for about two class sessions, reading extended works on the subjects and as well as related articles. Topics and authors we will cover include: The collaborative “nature” of the web (Clay Shirkey, Yochai Benkler); Social profiling, reputation and the media (Dan Solove, Joseph Turow); Privacy (Helen Nissenbaum); The right to forget (Viktor Mayer-Schonberger); The meaning and implications of “free” the in digital world (Chris Anderson); Threats to traditional journalism (McChesney and Nichols); Social implications of augmented-reality technologies (various academic and trade writings). Students will write a semester paper as well as weekly critical analyses of the reading.

CINE 591.401 - Theories of Cinematic Spectacle
ARTH 593; COML 592; ENGL 591
Scott Bukatman
W 6-9pm | FBH 139
From the first projection of moving pictures on a screen through the digitally mocapped Na'vi of Avatar’s Pandora, cinema has always been associated with spectacle – defined as an impressive, unusual, or disturbing phenomenon or event that is seen or witnessed. This course will explore the concept of “spectacle” by examining the very different ways that cinema has depended on sensationalist display throughout its history. New technologies have been mediated through cinematic spectacle; spectacle has been marshaled in the service of pedagogy and propaganda; the image of women in American film has been theorized as a form of spectacular excess. The course will also explore the function of spectacle in experimental cinema, as well as the deconstructions of spectacle by Godard and others in the wake of Guy Debord’s book, The Society of the Spectacle.
Syllabus