Explores modern origin of film experimentation in avant-garde modes such as Expressionism, Surrealism and contemporary results of this heritage. Trying to determine if film is the most resolutely modern of the media, we'll look at cinema as the result of two obsessive concerns: 1) the poetic, dreamlike and fantastic, 2) the factual, realistic and socially critical or anarchistic.

Explores modern origin of film experimentation in avant-garde modes such as Expressionism, Surrealism and contemporary results of this heritage. Trying to determine if film is the most resolutely modern of the media, we'll look at cinema as the result of two obsessive concerns: 1) the poetic, dreamlike and fantastic, 2) the factual, realistic and socially critical or anarchistic.

Ghosts, apparitions, and messengers from the beyond play a prominent role in the literary imagination. From religious visions to dream analysis, from medieval werewolves to psychological thrillers, literature of the supernatural pushes us to rethink what we know and how we know it. Readings may include works by Gogol, Cixous, Mann, Calvino, and Marie de France, as well as medieval dream and vision literature.

We will screen films from across the globe studying examples of a range of lesser-known subgenres of the Horror film, such as Giallo (Italian genre mixing slasher horror with detective mysteries), Fantastique (French genre mixing gothic horror with fantasy erotica), and Jiangshi (Hong Kong genre mixing slasher horror with Kung Fu). And we will consider in equal measure the so-called dystopian film. We will look at the interrelationship connecting these two modes, which can be seen at work in films like Battle Royale.

We will screen films from across the globe studying examples of a range of lesser-known subgenres of the Horror film, such as Giallo (Italian genre mixing slasher horror with detective mysteries), Fantastique (French genre mixing gothic horror with fantasy erotica), and Jiangshi (Hong Kong genre mixing slasher horror with Kung Fu). And we will consider in equal measure the so-called dystopian film. We will look at the interrelationship connecting these two modes, which can be seen at work in films like Battle Royale.

We will screen films from across the globe studying examples of a range of lesser-known subgenres of the Horror film, such as Giallo (Italian genre mixing slasher horror with detective mysteries), Fantastique (French genre mixing gothic horror with fantasy erotica), and Jiangshi (Hong Kong genre mixing slasher horror with Kung Fu). And we will consider in equal measure the so-called dystopian film. We will look at the interrelationship connecting these two modes, which can be seen at work in films like Battle Royale.

We will screen films from across the globe studying examples of a range of lesser-known subgenres of the Horror film, such as Giallo (Italian genre mixing slasher horror with detective mysteries), Fantastique (French genre mixing gothic horror with fantasy erotica), and Jiangshi (Hong Kong genre mixing slasher horror with Kung Fu). And we will consider in equal measure the so-called dystopian film. We will look at the interrelationship connecting these two modes, which can be seen at work in films like Battle Royale.

Translation, Cross-cultural Communication, and the Media is an introductory seminar on translation theory and practice that is grounded in fundamental questions, ideas, and methods of analysis in the humanities, specifically language and culture. Students engage with a wide range of texts including, literature, song lyrics, film and television subtitles, painting, photography, journalism and advertising.

Not available at this time

This course explores the history and social implications of our digitized culture(s). Considering information technology in terms of its relationship to the self and society, we will discuss a wide-ranging set of issues related to digital cultures, such as online communities and social networking, internet addiction, and machine learning. We will also investigate the implications of digital cultures in terms of social categories including class, race, and gender.