(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.  Visiting Professor Guilford.

(Offered as ENGL 180 and FAMS 110.)  A first course in reading films and writing about them.  A varied selection of films for study and criticism, partly to illustrate the main elements of film language and partly to pose challenging texts for reading and writing.  Frequent short papers.  Two class meetings and one screening per week.

Limited to 25 students.  Fall semester:  Professor Hastie.  Spring semester:  Visiting Professor Guilford.

Fall and spring semesters.

(Offered as ENGL 412 and EUST 412.)  [before 1800]   This course introduces students to the hands-on study of medieval manuscripts.  Students will examine materials in the Frost Library archives, as well as print and digital facsimiles of medieval manuscripts, to learn about how medieval literature was copied and read in its own time. Students will learn the skills of paleography (reading old handwriting) and codicology (analyzing the materials and assembly of old books) in order to conduct original research on these materials.

Fall and spring semesters.

(Offered as ARHA 354, ARCH 355, and EUST 355.) Artists such as Donatello, Fra Angelico, Botticelli, Leonardo, Raphael, Bramante, Michelangelo, Cellini and Titian, but also unknown artisans, constructed illusions imitating nature or offering profound spiritual connectedness, be it through the spatial grandeur of perspectival narratives on painted walls, in sculpture and the built environment, or through the expert crafting of precious materials for domestic and ritual objects.

(Offered as EUST 331 and SPAN 377.) Is there a difference between a traveler and a tourist? Does travel always involve movement in time? What is the relationship between travel and technology? In what sense is the self always changing? How to describe a fake experience? And are immigrants travelers? This course explores questions of travel across history, from the Bible to the age of social media. It will contemplate literature, cinema, music, and photography. Theories articulated by Joseph Campbell on myth and Albert Einstein and Stephen Hawking on time will be discussed.

(Offered as HIST 321 [EU^P] and EUST 321) The economic history of pre-modern Europe is usually understood as the singular and exceptional rise of the first modern economy. Yet recent research in economic history and shifts in the world economy have provided new perspectives to reconsider the rise of the European economy.  From this long-term and global viewpoint, the story of Europe’s economic take-off becomes the remarkable story of a backwater that became mainstream.

(Offered as BLST 294 [D] and EUST 294.) This research-based seminar considers the enduring presence of people of African descent in Europe from the nineteenth century to the contemporary moment, a fact that both confounds and extends canonical theories of African diaspora and black internationalism.  Focusing particularly on the histories of black people in Britain, Germany, and France, this course will take an interdisciplinary approach in its study of the African diaspora in Europe.