(Offered as ARHA 221 and FAMS 221) This introductory course is designed for students with no prior experience in video production. The aim is both technical and creative. We will begin with the literal foundation of the moving image--the frame--before moving through shot and scene construction, lighting, sound-image concepts and final edit. In addition to instruction in production equipment and facilities, the course will also explore cinematic form and structure through weekly readings, screenings and discussion.

(Offered as ENGL 280 and FAMS 210)  An introduction to cinema studies through consideration of a few critical and descriptive terms, together with a selection of various films (classic and contemporary, foreign and American) for illustration and discussion.  The terms for discussion will include, among others:  mise-en-scène, montage, realism, visual pleasure, and the avant-garde.  Two class meetings and one screening per week.

Limited to 35 students.  Fall semester.  Professor Guilford.

Fall and spring semesters.

Fall and spring semesters.

(Offered as ARHA 385, EUST 385, and SWAG 310) This course will explore the construction of the monstrous, over cultures, centuries and disciplines. With the greatest possible historical and cultural specificity, we will investigate the varied forms of monstrous creatures, their putative powers, and the explanations given for their existence-as we attempt to articulate the kindred qualities they share. Among the artists to be considered are Valdés Leal, Velázquez, Goya, Munch, Ensor, Redon, Nolde, Picasso, Dalí, Kiki Smith, and Cindy Sherman.

(Offered as GERM 360, ARCH 360, EUST 360 and FAMS 316) What is performance? What constitutes an event? How can we address a phenomenon that has disappeared the moment we apprehend it? How does memory operate in our critical perception of an event? How does a body make meaning? These are a few of the questions we will explore in this course, as we discuss critical, theoretical, and compositional approaches in a broad range of multidisciplinary performance phenomena emerging from European--primarily German--culture in the twentieth century.

(Offered as EUST 303 and ENGL 320) Acts of translation underwrite many kinds of cultural production, often invisibly. Writers of the Harlem Renaissance, for instance, engaged with black internationalism through bilingualism and translation, as Brent Edwards has reminded us. In this course we will study literary translation as a creative practice involved in the making of subjects and cultures. We will read key statements about translation by theorists and translators, such as Walter Benjamin, Roman Jakobson, Lawrence Venuti, Peter Cole and Gayatri Spivak.

(Offered as RUSS 242, EUST 246, and THDA 243)  Each bold innovation in twentieth-century theater sought to redefine in its own way the very idea of theatricality, and so to reshape the relationship between text and performance, experience and interpretation, social reality and cultural tradition.

(Offered as HIST 234 [EU] and EUST 234)  In the 1920s, Germany was celebrated throughout Europe and North America as a model of democratic political reform, artistic experimentation, economic prosperity, and cultural diversity.  Yet by 1933, millions of Germans gave their political support and allegiance to a movement that called for the destruction of democracy, an attack on Jews, Communists, gay men, and lesbians, and deemed "asocial" anyone who did not conform to narrowly prescribed social, political, and sexual standards.