(Offered as HIST 259 [US] and ASLC 259) U.S. security policy in the Middle East has shaped America’s interaction with the region since World War II. Indeed, U.S. strategic interest has defined this interaction and even dominated it in crucial ways. The substantial overlap between security policy and the broader diplomatic, economic and cultural dimensions of the U.S. relationship with the countries of the region is reflected in the structure of the course and assigned readings. Although the course presupposes a basic understanding of U.S.

How have Latin Americans represented themselves on the big screen?  In this course we will explore this question through close readings of representative films from each of the following major periods: silent cinema (1890s-1930s), studio cinema (1930s-1950s), Neorealism/Art Cinema (1950s), the New Latin American Cinema (1960s-1980s), and contemporary cinema (1990s to today). Throughout the course we will examine evolving representations of modernity and pay special attention to how these representations are linked to different constructions of gender, race, sexuality, and nationality.

(Offered as HIST 259 [US] and ASLC 259) U.S. security policy in the Middle East has shaped America’s interaction with the region since World War II. Indeed, U.S. strategic interest has defined this interaction and even dominated it in crucial ways. The substantial overlap between security policy and the broader diplomatic, economic and cultural dimensions of the U.S. relationship with the countries of the region is reflected in the structure of the course and assigned readings. Although the course presupposes a basic understanding of U.S.

This course examines art produced since 1989. We will pay particular attention to the international network comprising artists, curators, institutions, and the art market. How does the globalization of the art world instantiate and at times diverge from the process of economic integration taking place on a planetary scale in the past three decades? How does cultural difference function within this topsy-turvy world? How do artists claim territory amidst the redrawing of the cultural map?

This introductory course explores art produced between 1960 and 2016. We will take a transnational approach, from the emergence of Pop art as an international phenomenon in the 1960s to the mushrooming cloud of biennials in the twenty-first century. The course will sometimes look at art’s intersection with architecture, film, and visual culture more broadly. The geopolitical and geo-economic entanglements of both art and art history will never be out of sight.