Beginning in Precambrian time over a half billion years ago, mass extinctions have periodically decimated earth's biota and left the biosphere in ruins. For example, both the Permo-Triassic and the End-Cretaceous mass extinctions reshaped life on earth and initiated new geological eras. In this course we will examine why mass extinctions occur and study the ways in which the biosphere recovers from mass extinction events. We will also evaluate the claim that we humans are causing a mass extinction and examine proposals regarding the steps we might take to hasten biospheric recovery.

Understanding hydrology (the distribution and movement of water at the earth's surface) is critical for resource management and climate modeling. With an eye toward these applications, we will use observational data to explore the components of the water cycle (precipitation, evapotranspiration, soil moisture, and streamflow) and the physical processes that govern them. Lectures and hands-on computer exercises are aimed at students with interests in earth and environmental science or data science. No previous experience is necessary.

Because more than seventy percent of our planet is covered by oceans, the study of marine systems is crucial to our understanding of Earth History and life on the planet. We will examine chemical, physical, geological, and biological processes in the oceans at a variety of scales in time and space. We will explore how the Earth's oceans formed, how they provided the foundations for life, and how they continue to affect weather and climate, stabilize global chemical cycles, erode coastlines and provide access to resources.

This course studies the films of Pedro Almodóvar, European cinema's favorite bad boy turned acclaimed auteur. On the one hand, students learn to situate films within the context of contemporary Spanish history (the transition to democracy, the advent of globalization, etc.) in order to consider the local contours of postmodern aesthetics. On the other hand, the films provide a springboard to reflect on larger theoretical and ethical debates related to gender, sexuality, consumer culture, authenticity, and authorship.

This seminar examines experimental cinema made by women from the early 1950s, during the earliest years of the movement known as the American Avant-Garde, through the 1990s. While the class will read feminist film theory and see the work of such well-known filmmakers as Yvonne Rainer, Sally Potter, and Chantal Akerman, we will also examine the less familiar but highly influential films of women working in the home movie or diary mode, with particular emphasis on the work of Marie Menken.

In this class, we will take the skills and insights gained in introductory production courses and develop them over the length of the semester through the creation of one short project, 10 minutes long. You may work individually or in pairs. We will learn by making work as well as by researching, reading, and watching films related to our projects. We may take this opportunity to delve into and learn the conventions of our chosen form. Or we may decide that our content demands formal experimentation and risk-taking. The course will be structured by the projects each student brings to it.

Indian popular film, known commonly as Bollywood, is usually understood to have weak storylines interrupted with overblown cinematic spectacles and distracting dance numbers. The course explores the narrative and visual structure of Bollywood for what scholar Lalitha Gopalan has called a "constellation of interruptions." We will analyze a selection of films closely, read scholarly articles, participate in debates, write guided assignments, and pursue independent research papers.

This course explores the American Musical Film from its first appearance in the late 1920s in early experiments with sound, through the films of Busby Berkeley and the MCM Musicals to its more recent revival in films such as Baz Luhrmann's 'Moulin Rouge.' The course also examines musical films from other national cinemas that either comment self-reflexively on the genre and its American context and/or expand common definitions of the genre.

This course introduces students to the critical study of media, focusing on electronic media, digital technologies, and network cultures. We will analyze the aesthetics, politics, protocols, history, and theory of media, paying attention to the ways they create and erase borders; affect how we form and articulate identities; invade privacy while providing a platform for exploration; foster hate speech and progressive movements alike; and participate in capitalist economies and the acceleration of climate change.

This course examines films and topics central to the study of global cinema since 1960. We will begin with the New Waves of France, Italy, England, and Japan, and Direct Cinema of the '60s and '70s in the U.S. We will explore films of Third Cinema in Latin America, Asia and Africa in the late '60s and '70s, and examine films of New Zealand and Australia from the '70s to the current moment, with an emphasis on stories that center indigenous peoples. We also will focus on significant film movements of the last three decades, such as New Queer Cinema in the U.S.