Fall 2017 Courses

Fall 2017 Courses

AVA 120-01:  Photography 1 — TTh 9:30 am – 12:30 pm (Benjamin) CC: HUM

A course in black and white silver halide film and gelatin silver printing. Students learn the basics of the art’s aesthetics, the camera, processing, printing, and evaluation/assessment of photographic prints. Three separate projects lead students through making their own photographic prints in various themes and genres of contemporary fine art photography. Students study important works in photography that relate to each project and have critiques of their work. A 35mm film camera with a light meter and adjustable focus is required. Limited enrollment, by permission of instructor.

AVA 120-02:  Photography 1 — TTh 2 – 5 pm (Benjamin) CC: HUM

[Same course as above, second section]

AVA 160:  Digital Art — TTh 9:30 am-12:30 pm (Orellana) CC: HUM

This introductory course focuses on the fundamentals of using the computer as an art tool in the production of two-dimensional content. Topics covered include essentials of digital imaging, digital printing, and posting information to the Internet. Class lectures and hands-on studio will incorporate technique demonstrations, discussions, technical exploration, aesthetic inquiry and historical information relevant to computer multimedia, hypermedia and telecommunications. Students are encouraged to pursue areas of interest and explore new ideas throughout the course. Outside work required. No previous experience necessary.

AVA 363: 3D Computer Modeling — TTH 2-5 pm (Orellana) CC: HUM

This course will introduce students into the world of three-dimensional computer graphics. Through this hands-on-course, students will learn how to use 3D software to realize ideas in sculpture, virtual environments, 3D modeling, installation, and rapid prototyping. Class lectures and hands-on studio time will incorporate technique demonstrations, discussions, technical exploration, aesthetic inquiry and historical information relevant to the course. Software covered: Cinema 4D, Poser, and Adobe After Effects. Outside work required. Prerequisite(s): AVA 160 or AVA 320 or permission of instructor.

EGL 259: Irish Literature and Film — TTh 1:55-3:40 (Bracken) CC: HUL, LCC, HUM, WAC

The aim of this course is to introduce you to the field of Irish Studies, examining how issues relating to language, identity and nationhood are intimately connected in Irish literature and film. In this course we will be studying Irish literary texts from the beginning of the 19th century to the late 20th century, examined alongside a selection of contemporary films. This course will ask you to consider the ways in which cultural concerns of the Irish past continue to haunt the landscape of the present day, paying attention to issues of gender, class, race and sexuality. Texts will include Lady Morgan’s Wild Irish Girl, Bram Stoker’s Dracula, Samuel Beckett’s Waiting for Godot and Neil Jordan’s film Michael Collins. Prerequisite(s): EGL 100 or EGL 101 or EGL 102 or a grade of 5 on the AP English Literature or Language test.

EGL 286:  Transnational Literature, Film, and Theory — MW 3:05 – 4:45 pm (Troxell) CC: HUL, WAC

While modern colonialism dating back to the 18th century brought the entire globe into contact, the nation-state remained the relevant unit of culture. Unprecedented levels of migration and technological development in the past century, however, have made it impossible to ignore the fact that we are now living in a thoroughly transnational world-a new world order whose contours we yet barely grasp. How do social identity formations shift when nation-state boundaries are challenged? What sorts of new ethical dilemmas and self-other relations are engendered? Is anti-colonialism, staged as it was in the theater of national liberation, de-fanged or enabled by transnationalism? What new aesthetic forms and modes are generated by transnationalism; and how do cosmopolitans, exiles, diasporics, hybrids, and long-distance nationalists affect the field of culture? These are among the questions we will examine over the course of the term through the complementary lenses of film, literature, and theory.  This blended learning course, co-developed by Bina Gogineni from Skidmore College and Jenelle Troxell from Union, will draw on new media to cultivate students’ creativity and analytical skills, and link students between campuses. Prerequisite(s): EGL 100 or EGL 101 or EGL 102 or a grade of 5 on the AP English Literature or Language test.

FLM 201:  Documentary Filmmaking — TTh 10:55 am-12:40 pm (de Seve) CC: HUM

This class introduces students to the basics of documentary filmmaking. While covering enough technical know-how to successfully complete class projects, the class will keep its focus on documentary form and storytelling techniques. Students will practice storyboarding, writing synopses and treatments, and deconstructing well-respected documentaries to analyze how they were made. The primary course activity is the production of a short documentary (around 20 minutes) which can be done individually or in groups of two. Besides his or her own work, the student will be expected to participate in screening nights in which students will share each other’s work for peer evaluation and discussion. There is also the option of organizing screenings open to the entire student body.

FLM 202: Digital Filmmaking — TTh 1:55-3:40 pm (de Seve) CC: HUM

This intensive hands-on class guides students from concept to finished film. Students practice the essentials of filmmaking technique, including storytelling, camera work, lighting, sound and editing. Students must be up for a challenging schedule and will make a film each week as they explore the nuts and bolts of moviemaking.

HST 366: British Cinema — TTh 1:55-3:40 pm (Cramsie) CC:WAC

What films come to mind when you see the words “British Cinema”? Alfred Hitchcock’s 39 Steps or Carol Reed’s classic film noir The Third Man? Fabulous historical epics like Zulu, Elizabeth, or Braveheart? Comedies from The Ladykillers to the unclothed Sheffield steelworkers of The Full Monty? The tale of football of multicultural Britain that is Bend It Like Beckham? This course will study the historical development of British cinema, tracing its roots from music halls at the turn of century to the multiplexes of a globalized culture dominated by Hollywood. We will also explore the different types and genres of film to be found in British cinema: realism and expressionism, cinema as national popular culture, humor and horror, constructions of Britishness, film as an ideological medium, films that pushed the boundaries of sex and orientation, epics, and imperial and post-colonial themes that played out on the screen. By the end of this course you will understand the complex and diverse character of British cinema through the analysis of actual films and engagement with critical studies of them. This is a course for advanced students taught in an intensive seminar format; you will be expected to view films outside of class time. Prereq/Corequisite(s): Any 100-level or 200-level history or film studies course or permission of the instructor.

MLT 260: The Vampire as Other in Eastern European and American Culture — MW 3:05-4:45 pm (Bidoshi) CC: LCC, HUL, HUM

We will discuss the present distribution of the East European peoples, their prehistory, and their relation to other peoples of Europe and Asia. We will also survey their early culture, including pagan, animistic, and dualistic religious beliefs, and Christianization. Our focus will be the myth of the vampire, which has had enduring power not only in Eastern European folk belief but also in American popular culture right up to the present day.

MLT 286T: Gender and Identity in Contemporary Brazilian Cinema — Time TBA (Garcia) CC: LCC, HUM

The course is a survey of contemporary Brazilian cinema focusing on issues of representation, reception and spectatorship, and construction of (national, cultural, gender, and racial) identity. Besides the films, reviews and substantive readings will contribute to an examination of five main topics: 1) Constructions of Gender; 2) Representations of National Identity; 3) Race and Class; 4) Queer Images; and, 5) Imagining Marginality. All films studied in class will link two or more of these topics.

SPN 312T:  Immigration in Spanish Cinema — Time TBA (Mosquera) CC: LCCS

This course will examine the filmic representation of migration in Spain in the context of contemporary European debates related to cultural, economic, and political change. The course seeks as well to grasp more clearly immigration’s racial, gender, sexual, religious, and other identity locations, as the Spanish nation and the people that inhabit its borders negotiate-often in paradoxical ways-national and social proximity with demographic realities. The course will analyze miscellaneous printed (newspapers, magazines, literary and economic-political texts) and visual media (virtual and not) dealing with the topic of migration in the context of re-settlement and human rights and institutional, cultural, and national beliefs.

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