The goal will be to articulate the mechanics of revolution and its representation in time-based media. Students will produce a video or videos adapting the rich archive of revolutionary film for today's situation. The films screened will be drawn primarily from Soviet and US cinema, from the s to the present day, proceeding more or less chronologically.
Readings will acquaint students with contemporary assessments of the emancipatory potential of film. Bird; C. Cowboys and Tramps in Film and Literature. The late 19th and early 20th centuries saw the invention of two distinctly American literary archetypes: the cowboy and the hobo. Based on historical conditions of labor, economics, and westward expansion, the cowboy and the hobo, though both itinerant workers primarily employed seasonally in agriculture and ranching, were depicted very differently in literature and, later, film, during the decades in which they held influence over America's imagination and mythologization of itself.
Evoking responses from fear to admiration and pity to envy, the cowboy and the hobo, both as historical figures and as fictional types, reflected the evolving realities of-and the broad range of attitudes toward-labor, masculinity, and place in a modernizing America. This course will examine literary and cinematic representations of hoboes, tramps, cowboys, and gunslingers from the late s to the mids, tracing their historical and cultural contexts.
We will address pulp and dime novels as well as literary masterpieces, stage plays, poems, and feature films from the silent and sound eras, paying special attention to the effects of different media and art forms on the depiction and mythologization of these figures. Other themes include violence and the state, the American West, technology trains, automation in agriculture, weapons , immigration and migration, race, and material culture. All others by instructor consent only. Screenings Thursday This course examines the western movie genre through the lens of what is thought of as the cinema's special relationship to and place within twentieth century modernity.
From the beginnings of narrative cinema through the s, more westerns were made than any other genre, and the iconography and ideology of the western influenced not only other film genres but also spilled over into other aspects of popular culture and even high art. Why was the cinema, the medium that exemplified modernity for so many people around the world, dominated by westerns, a genre set in the past and in the wilderness?
How did the western manifest aspects, anxieties, possibilities, and widespread phenomena of twentieth century modernity?
Nowhere has the advent of modernity been more closely entwined with cinema than in Central Asia, a contested entity which for our purposes stretches from Turkey in the West to Kyrgyzstan in the East, though our emphasis will be squarely on Soviet and post-Soviet Central Asia especially Uzbekistan and Kazakhstan. This course will trace the encounter with cinematic modernity through the analysis of individual films by major directors, including but not limited to Shukhrat Abbasov, Melis Ubukeev, Ali Khamraev, Tolomush Okeev, Sergei Paradzhanov, Gulshad Omarova.
In addition to situating the films in their cultural and historical situations, close attention will be paid to the sources of Central Asian cinema in cinemas both adjacent and distant; to the ways in which cinema enables a distinct encounter with modernity; and to the cinematic construction of Central Asia as a cultural entity. The Underground: Alienation, Mobilization, Resistance.
The ancient and multivalent image of the underground has crystallized over the last two centuries to denote sites of disaffection from-and strategies of resistance to-dominant social, political and cultural systems. Alongside with such literary and cinematic tales, drawing theoretical guidance from refuseniks from Henry David Thoreau to Guy Debord, this course investigates how countercultural spaces become-or fail to become-sites of political resistance, and also how dissenting ideologies give rise to countercultural spaces.
We ask about the relation between social deviance the failure to meet social norms, whether willingly or unwittingly and political resistance, especially in the conditions of late capitalism and neo-colonialism, when countercultural literature, film and music rock, punk, hip-hop, DIY aesthetics etc. In closing we will also consider contemporary forms of dissidence-from Pussy Riot to Black Lives Matter-that rely both on the vulnerability of individual bodies and global communication networks.
What is a ghost? How and why are ghosts represented in particular forms in a particular culture at particular historical moments and how do these change as stories travel between cultures? This course will explore the complex meanings, both literal and figurative, of ghosts and the fantastic in traditional Chinese, Japanese, and Korean tales, plays, and films.go site
Issues to be explored include: 1 the relationship between the supernatural, gender, and sexuality; 2 the confrontation of death and mortality; 3 collective anxieties over the loss of the historical past 4 and the visualization and exorcism of ghosts through performance. The course offers panoramic views as well as close-ups of cinematic landscapes of East Asia and Southeast Asia. We will cover a variety of films-including animation and documentary-from Japan, Korea, China, Taiwan, Hong Kong, Indonesia, and Malaysia, with a focus on site-specific works and trans-regional co-productions, circulations, and exchanges.
Combining critical readings with truly close analyses of films, this course seeks to develop: 1 solid understandings of cinema's peculiar and intricate relations to space and time; 2 conversations between cinema and other art forms, such as photography, painting, and calligraphy; 3 methods and skills of conducting film analysis. China's New Documentary Cinema. Since the early s, the "new documentary" has emerged as one of the most prominent phenomena in Chinese film and video, widely circulating at international film festivals and eliciting considerable critical debate.
This course examines the styles and functions of China's "new documentary" over the last fifteen years, paying particular attention to the institutional, cultural, economic, and political conditions that underpin its flourishing. This overview will lead us to consider questions that concern the recent explosion of the documentary form worldwide, and to explore the tensions and imbalances that characterize the global circulation of the genre.
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We will address such issues as: what is "new" about China's recent documentary cinema; the "national" and "transnational" dimensions of documentary filmmaking, and the ways in which these dimensions intersect in its production and circulation; the extent to which the international demand for "unofficial" images from China has contributed to its growth; the politics involved in documentary filmmaking, and the forms and meanings of "independent" cinema in the wake of intensified globalization; the links between Chinese documentary and the global rise of documentary filmmaking, and the ways in which they challenge extant concepts and theorizations of the genre.
Chinese Independent Documentary Film. This course explores the styles and functions of Chinese independent documentary since , with particular attention to the social and political contexts that underpin its flourishing in Mainland China and Taiwan. We will discuss the ways in which recent Chinese documentaries challenge current theories of the genre, how they redefine the relationship between fiction and non-fiction, and the problems of media aesthetics, political intervention, and ethics of representation that they pose.
We will look at their channels of circulation in Asia and elsewhere, and will discuss the implications and limits of the notion of independence. Readings will include theorizations of the documentary genre in relation to other visual media and narrative forms, analyses of specific works, and discussions on the impact of digital media.
Open to all undergraduates. Over the course of the last hundred and twenty years, opera and cinema have been sounded and seen together again and again. Where opera is commonly associated with extravagant performance and production, cinema is popularly associated realism. Yet their encounter not only proves these assumptions wrong but produces some extraordinary third kinds-media hybrids.
It also produces some extraordinary love affairs. Thomas Edison wanted a film of his to be "a grand opera," and Federico Fellini and Woody Allen wanted opera to saturate their films. Thinking about these mutual attractions, "Opera across Media" explores different operatic and cinematic repertories as well as other media forms. No prior background in music performance, theory, or notation is needed. Students may write papers based on their own skills and interests relevant to the course.
Required work includes attendance at all screenings and classes; weekly postings on Canvas about readings and viewings; attendances at a Met HD broadcast and a Lyric Opera live opera; a short "think piece" midway through the course; and a final term paper of pages. How would you describe your family? Who do you count as its members? Nuclear family, extended family, socialist commune, totemic kinship-the list goes on. Despite the etymological affinity, it turns out that little about the family is familiar. From its inception, cinema has participated in the project of imagining different ways of constructing family life.
Sundry families have been rendered on screen, soliciting our physical departure from the confine of domiciles into the movie theater where they appear. This is particularly true and prominent in contemporary films produced across East Asian societies and diasporic communities-places that are often perceived to foreground familial connection as the primary source of identity. Indeed, while the ideological ordering of these regimes frequently presumes a standard model of the family life for which they can legislate, families on the ground hardly cohere to any single structure.
All the films we will study in this class pivot around the negotiation between conformity and rebellion, predictability and strangeness, the urge to integrate and the force of diffusion behind family formation. Avant-Garde in East Central Europe. The avant-gardes of the "other" Europe are the mainstay of this course, which focuses especially, but not exclusively, on the interwar avant-gardes of Austria, Czechoslovakia, Hungary, Poland, Romania, Slovenia, and Yugoslavia. The course also traces the development and legacy political and artistic of these avant-gardes in their contemporary scenes.
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Plastic, verbal, and performative arts including film are studied. This course examines the nature and creation of suspense in literature and film as an introduction to narrative theory.
Imaging Religion in Film: The Politics of Nostalgia - M. Gail Hamner - Google книги
We will question how and why stories are created, as well as what motivates us to continue reading, watching, and listening to stories. We will explore how particular genres such as detective stories and thrillers and the mediums of literature and film influence our understanding of suspense and narrative more broadly. Close readings of primary sources will be supplemented with critical and theoretical readings. Media ecology examines how the structure and content of our media environments-online and offline, in words, images, sounds, and textures-affect human perception, understanding, feeling, and value; or alternatively, media ecology investigates the massive and dynamic interrelation of processes and objects, beings and things, patterns and matter.
At stake are issues about agency-human or material-and about determinism-how does society or culture interact with or shape its technologies, or vice versa? This course investigates theories of media ecology by exploring systems of meanings that humans embody cultural, social, ecological in conjunction with the emerging field of software studies about the cultural, political, social, and aesthetic impacts of software e. In our actual and virtual environments, how do we understand performing our multiple human embodiments in relation to other bodies organism or machine in pursuit of social or political goals?
Instructor s : M. By the turn of the last century, scientific imaging techniques like microphotography, astrophotography, x-rays, infrared vision, and time-lapse and slow-motion cinematography had already extended the threshold of the visible out to distant stars and into the cellular structure of the body. This interdisciplinary course investigates the place of such images in the history of art and film over the course of the twentieth-century. Drawing together objects and writings from cinema and media studies, art history, and the history of science, this course will move between the study of scientific images to their impact on artists and filmmakers associated with important modern movements like Expressionism, Constructivism, Surrealism, Pop Art, and more recent works by experimental filmmakers and media artists exploring the archive of instrumental images.
Rather than consider scientific images as mere documents, we will view them as both aesthetic objects in their own right and as aesthetic provocations, which not only extended the horizon of perception, but also opened up new image-worlds and spawned speculations about what might still wait beyond the limits of perception.
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- Imaging Religion in Film: The Politics of Nostalgia by M. Gail Hamner.
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