Independent Reading Courses.

Fall and spring semester. The Department.

(Offered as ENGL 489 and FAMS 489.)  This course in film production and film history will address changing cinematic representations of the architecture and urban space of Paris and the surrounding suburbs. The course will include workshops in cinematography, lighting, editing, and sound recording. We will consider shifting representations of the city and the body of the performer in the films of Feuillade, Vigo, Rivette, Prévert, Cantet, Denis, Kechiche, and Volta.

Readings of the poetry and prose (in Keats’ case, letters) of these two major Romantic figures. Attention will be paid to the biographical, political, and social implications of their writings.

Open to juniors and seniors.  Limited to 15 students.  Spring semester.  Professor Emeritus Townsend.

Adapting legends of King Arthur, and with inventiveness that in our own time might have turned to science fiction, Edmund Spenser creates the first English epic poem. The Fairy Queen (1590) engages romantic love, gender roles, religious controversy, and Elizabethan politics. Modeling himself on classical predecessors, Spenser through his career shapes the idea of a national poet.

[before 1800]  By studying selected Shakespeare plays and their afterlives in literature and performance, we will explore the fate of culture over centuries of global mobility.  What qualities of Shakespeare’s works render them peculiarly adaptable to a world of intercultural conflict, borrowing and fusion?  And what light does the translation and adaptation of Shakespeare shed on the dialectic of cultural persistence and change?  Our examples may include European literature and theater; American silent film and musicals; post-colonial appropriations in India, Afri

In 1980, on the eve of publication of his second short story collection, Raymond Carver wrote to his editor Gordon Lish and begged him to stop the presses. Carver felt Lish had edited the stories so dramatically the author could no longer claim them as his own. Yet this collection is an American masterpiece. What can we learn about the art and practice of editing from this relationship? How does one read and think like an editor?

(Offered as ENGL 388 and FAMS 240.)  A first workshop in narrative screenwriting.  Through frequent exercises, readings, and screenings we will explore the fundamentals of scene and story shape as they’re practiced in mainstream commercial filmmaking, while taking a broader look at what a screenplay might be outside of that world.  In the process, we’ll juxtapose two modes of writing that are not mutually exclusive but are often at odds with each other, both historically (within the industry) and aesthetically:  the well-established craft of three-act screenw

(Offered as ENGL 379 and FAMS 380.)  Throughout its history artists and filmmakers have experimented radically with cinema, exploring the limits of the medium.  This course traces the history of experimentation and its relation to broader avant-garde movements in the arts, such as Symbolism, Dada, Constructivism, Surrealism, Abstract Expressionism, Pop, and Minimalism.  Many of the filmmakers and movements we will study set about creating a new type of film, as well as a new kind of film language, in an attempt to re-orient how individuals engage with art in their everyday li

(Offered as ENGL 373 and FAMS 353.)  U.S. film in the 1970s was evident of tremendous aesthetic and economic innovation. Rife with but not limited to conspiracy, disaster, love and war, 1970s popular films range from the counter-cultural to the commercial, the independent to the industrial. Thus, while American cinema of the first half of the decade is known as the work of groundbreaking independent “auteurs,” the second half of the decade witnessed an industrial transformation through the emergence of the giant blockbuster hit.

Some classic novels from the first half of the twentieth century will be considered with an eye to juxtaposing English and American writers.  Henry James, Joseph Conrad, Theodore Dreiser, D.H. Lawrence, Edith Wharton, Ernest Hemingway, Willa Cather, Evelyn Waugh.

Spring semester.  Professor Emeritus Pritchard.