Spring 2016 Courses

Spring 2016 Courses

AVA 120. Photography 1 – TTh 9:30-12:20 (Benjamin)

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. CC: HUM Note: For 2015-16, AVA 120 will be a digital-only course during the renovation of the Visual Arts Building.

AVA 262. Real and Recorded Time — 4D Art — TTh 9-11:50 (Orellana)

This course will serve as an introduction to the basic concepts of four-dimensional art or time-based artwork, using a variety of processes and media. Students explore concepts in animation techniques, video and audio production, editing, interactivity, installation, and documentation. Class lectures and hands-on studio time will incorporate technique demonstrations, screenings, readings, discussions, technical exploration, aesthetic inquiry and historical information relevant to the course. Outside work is required. Prerequisite(s): Any Studio Art course or permission of instructor. CC: HUM Note: Course website: http://cs.union.edu/ava262/

AVA 320. Photography 3 — TTh 1:55-3:40 (Benjamin)

This class is a “Portfolio Project” where each student conceptualizes a project to work on for the whole term resulting in a finished photography portfolio of at least 20 prints and 40 artist’s proofs. Students will also do research projects about a group of photographers whose work might inform their own. Prerequisite(s): Photography II or permission of instructor; limited enrollment. Digital camera required. CC: HUM

CLS 151. The Ancient World in Film and Literature — TTh 9-10:45 am (Raucci)

Greco-Roman antiquity has been a favorite topic of Hollywood for years. This fascination continues today, with the recent appearance of major blockbusters as well as TV productions. Why do the Greeks and Romans appeal to a modern audience? This course will consider ancient texts in translation alongside their modern film representations. Our goal will not be to consider where the films went “wrong.” Instead, we will question how these films recast and reinterpret classical texts to reflect modern interests. This course will include an “entrepreneurship module.” We will question what is entrepreneurship and if Hollywood’s commodification of the ancient world is entrepreneurial. CC: LCC, HUL

ECE 241-01 Discrete Systems w/ lab — MWF 8-9:05 (Catravas)

Discrete signals and systems; classification and properties of systems; difference equations; Z-transform; Fourier series, Fourier transforms, the DFT and FFT; filters and filter design; A/D and D/A converters; applications to audio signal processing. Prerequisite(s): ECE 240 Corequisite(s): ECE 241L Includes a weekly lab. (Lab meets M 1:50-4:40)

EGL 248 Changing Ireland — TTh 10:55-12:40 (Bracken)

Offered twice every four years. This course will be looking at the changing nature of Irish society since the economic boom of Celtic Tiger Ireland in the 1990’s. EU membership, US investment and the effects of global internationalism have brought about radical culture transformations in the country which in turn are altering conventional meanings of Irishness and Irish identity. We will be looking at representations of this changing Ireland in literature and film, paying attention to issues such as new technologies, post-feminism, sexualities, race and ethnicity. Texts will include Martin McDonagh’s In Bruges, Anne Enright’s novel The Wig My Father Wore, and the poetry of Leanne O’Sullivan. CC: HUL, LCC

EGL 286 Transnational Literature, Film and Theory — TTh 1:55-3:40 (Troxell)

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. CC: HUL, WAC

EGL 290. Studies in Film Genre and Style — TTh 7-8:45 PM (Troxell)

Documentary films and reality television shows have become more prevalent than ever. Documentary images pervade intimate spheres of our lives through cell phones, youtube, and a variety of other screen interfaces, engendering powerful affective forces driving everything from humanitarian aid to global political agendas. Why this increased interest in the documentary form? Traditionally, the documentary has tended to emerge during crisis situations, often reflecting and commenting on past and present social and political unrest. Over the course of the term we will examine documentarians’ search for appropriate forms to provoke discussion of social content. We will investigate the myth of documentary authenticity as well as controversial epistemological and ethical claims bound up with the genre. CC: HUL

HST 287. Film and Modern India — MWF 11:45-12:50 (Mazumder)

This course uses a medium of visual representation-cinema-to explore the portrayal of India. It historically traces the development of the cinematic industry in India and highlights the changing images of the region since the 1950s. Each decade evokes a list of stereotypes, of ideas, and of historical realities. We will examine the extent to which films in each decade captured the reality of the period. In particular, we will trace the maturation of the idea of a nation through films and we will explore the positioning of gender in these decades. In general, this course will adopt critical approaches for looking at aesthetics and the representation of South Asia through cinema. CC: LCC

HST 333. Hollywood Film, An American History — TTh 1:55-3:40 (Feffer)

In studying the history of Hollywood film we will study one of the most important elements of American culture as seen at home and from abroad. Our objectives in this course will be to get behind the cliches and platitudes about the Hollywood experience to its more complex and substantive history. We will learn the basic chronology of American dramatic film history, the tools of historical film research and some of the methods of technical film analysis. Prerequisite(s): Any 100-level or 200-level history course or permission of the instructor.

MLT 260. The Vampire as Other in Eastern European and American Culture — MW 3:05-4:45 (Bidoshi)

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. CC: HUL, LCC

PHL 135. Philosophy in Film TTh 1:55-3:40 (Tullman)

This course will be an exploration of the portrayal in film of philosophical issues, followed by a focused consideration of the issues themselves. The goal will be to stimulate students’ philosophical imaginations through film and then use that energy as the springboard for philosophical study and discussion of such issues as appearance and reality, freedom and responsibility, the existence of god, the question of whether computers are sentient, rational, and moral agents, and our moral obligations to others and to the state. CC: HUM

PSC 275 Law and Film MW 3:05-4:45 (Hays)

This course uses the medium of film as a springboard to introduce and explore concepts in legal theory, American legal culture, and the exercise of public and private power through the legal system. Specific topics of discussion include law as morality, higher versus positive law, law and gender, and the heroic lawyer mythology.

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